ColorBurst Layout Manual

Version 7.
6 User’s Manual
ColorBurst RIP Layout Series
Windows XP, 2000, 2003
Profiling powered by
Compatible Systems Engineering, Inc. (CSE) reserves the right to change the information in
this document without prior notice. The software described in this document is furnished
under a license agreement. The software may be used or copied only in accordance with
the terms of the agreement. No part of this manual may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopying, recording
or information storage and retrieval systems, for any purpose other than the purchaser’s
personal use, without the express written permission of CSE.
© and ™ 1993-2006 Compatible Systems Engineering, Inc.

All rights reserved. Printed in the United States of America.
ColorBurst is a registered trademark of CSE, Inc.

JAWS is a registered trademark of 5D Solutions Ltd.
PostScript is a registered trademark of Adobe Systems Incorporated.
HP DesignJet is a registered trademark of Hewlett–Packard Company.
Windows is a registered trademark of Microsoft Corporation.
Kodak Digital Sciences CMS is a registered trademark of Kodak.
PANTONE® Colors displayed in the software application or in the user
documentation may not match PANTONE-identified standards. Consult current PANTONE
Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are
the property of Pantone, Inc. © Pantone, Inc., 2001.
Pantone, Inc. is the copyright owner of color data and/or software which are licensed
to Compatible Systems Engineering, Inc. to distribute for use only in combination with
ColorBurst. PANTONE Color Data and/or Software shall not be copied onto another disk
or into memory unless as part of the execution of ColorBurst.
All other trademarks are the property of their respective owners.

Table of Contents
1 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Software Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
ColorBurst Installation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
ColorBurst Dongle Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Starting ColorBurst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2 File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Restore Last Job . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
File Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Change Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Add button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Step&Repeat button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Scale/Rot button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Refit button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Reposition button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Write CLF button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Delete button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Clear button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Select a File Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Start button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Convert, Convert As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ColorBurst RIP Table of Contents ·

Image Zoom buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Crop to Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Tiling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Change Tiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Scale&Rotate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Scale, Rotate, Tile tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Scale to Layout Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Scale to Tile Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Reset Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
PostScript Only tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3 Printer Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Save and Save As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4 Options Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Printer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Printer and Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Printer Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
ENCAD Printer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Epson Printer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
HP Printer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Roland Printer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Mimaki Printer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Units of Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Mirror Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Write to RTL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Number of Copies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Layout Area and Resolution . . . . . . . . . . . . . . . . . . . . . . . 43
Margin Between Images . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Offset Image in Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
II · Table of Contents Layout Series

TCP/IP tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
TCP/IP Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Cut Marks tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Print Cut Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Specify shape of marks . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Enter Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Position marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Job Titles tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Print Job Titles and Title Options . . . . . . . . . . . . . . . . . . . . 48
Nested Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Space Reserved for Titles . . . . . . . . . . . . . . . . . . . . . . . . . 49
Cut Devices tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
I–Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Grids tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Use Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Columns and rows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Scaling and cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Multipage Job Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Place multiple pages of job in layout . . . . . . . . . . . . . . . . . 54
Place each page of job in separate layout . . . . . . . . . . . . . 55
Page Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Layout Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Direct to Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Delete All Intermediate Files . . . . . . . . . . . . . . . . . . . . . . . 57
Error if Image Too Big . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Use Precise Positioning of RTLs in Layout . . . . . . . . . . . . . 58
Layout File Name Template . . . . . . . . . . . . . . . . . . . . . . . 58
Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Alphabetical list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Auto-Position Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Refit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
On Size Discrepancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
ColorBurst RIP Table of Contents · III

Postscript/Layout Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Save/Print Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Output Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Temporary Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
File Name Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
TIFF Byte Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Use PostScript Resolution in TIFF/CT Header . . . . . . . . . . . 71
Single Strip TIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Prompt for Output File Name . . . . . . . . . . . . . . . . . . . . . . 71
PostScript Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Resolution and Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Memory Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Output Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
OverPrint Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Advanced PostScript Options . . . . . . . . . . . . . . . . . . . . . . 76
Initialization File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Temporary File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
JAWS Search Directories . . . . . . . . . . . . . . . . . . . . . . . . . . 77
ICC Profile Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Enable ICC profile color management . . . . . . . . . . . . . . . 79
Print lin target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Cancel print if output profile is missing or in error . . . . . . 80
Create color corrected TIFF/CT . . . . . . . . . . . . . . . . . . . . . 80
Use embedded profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Enable AutoSpot for optimized PANTONE® colors . . . . . . . 80
Convert PANTONE® colors to process . . . . . . . . . . . . . . . . 80
Include media tint as background . . . . . . . . . . . . . . . . . . . 81
Grey vectors and images . . . . . . . . . . . . . . . . . . . . . . . . . 81
Enable ColorTrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Input Profiles tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Output Profiles tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Simulation Profiles tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Default Paths tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Color Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
IV · Table of Contents Layout Series

Ink Limits tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Ink Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Sharpness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Extra TIFF channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Adjustments tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Screening (Finish) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Brightness Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Select Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Edit Button and Color Curve Information . . . . . . . . . . . . . 93
Max. Ink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Halftones tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Choose a halftone dot . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Use AccurateScreens . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Adjust ruling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Ruling (dots per inch) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Screen angles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Linearization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Allow linearization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Use chroma based linearization . . . . . . . . . . . . . . . . . . . . 97
Print lin target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Cancel job on linearization error . . . . . . . . . . . . . . . . . . . . 98
Linearization file and path . . . . . . . . . . . . . . . . . . . . . . . . 98
Advanced tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Desired density/chroma values . . . . . . . . . . . . . . . . . . . . . 99
Dmax/Chroma controls . . . . . . . . . . . . . . . . . . . . . . . . . 100
Set Dmax/Chroma button . . . . . . . . . . . . . . . . . . . . . . . 101
Data points tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Ink Balance and RGB to CMYK . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Black Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Undercolor Removal (UCR) . . . . . . . . . . . . . . . . . . . . . . . 106
Ink Balance Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . 106
Test Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Spot Color Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Spot Color Definitions tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Spot Color CMYK Values and Defined Spot Colors . . . . . 108
Clear all spot colors button . . . . . . . . . . . . . . . . . . . . . . . 111
ColorBurst RIP Table of Contents ·

Treat all suffixes as same spot color . . . . . . . . . . . . . . . . 111
If entered, use L*a*b* to process named colors . . . . . . . 111
Allow import file to overwrite spots and Import button . 111
Add message for each spot color name . . . . . . . . . . . . . 112
Import from PS button . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Select and Save Spot File buttons . . . . . . . . . . . . . . . . . . 112
Clear Last Spot File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Ink Sets tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Current Ink Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Defined Spot Colors and Installed Inks . . . . . . . . . . . . . 113
Reorder inks for output to printer . . . . . . . . . . . . . . . . . 114
Light Ink Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Separations tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Print Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Fast Separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Use Low Resolution Separations . . . . . . . . . . . . . . . . . . . 116
Search All PostScript Files For Separations . . . . . . . . . . . . 117
Default paths tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Spot file path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Import file path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Tiling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Tile Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Tile Overlap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Trim Outside Tiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Minimum Tile Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Output file template . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Font Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Font Path and Search String . . . . . . . . . . . . . . . . . . . . . . 121
Automatic Overwrite . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Choose Layout Window Font . . . . . . . . . . . . . . . . . . . . . 122
Cancel job if fonts are missing . . . . . . . . . . . . . . . . . . . . 122
Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Log File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Automatic Picture Replacement . . . . . . . . . . . . . . . . . . . 124
VI · Table of Contents Layout Series

5 Spooler Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Setup Spooler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Queue to Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Queue Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Special button and Special Queue Setup . . . . . . . . . . . . 131
Hide queue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Include subdirectory images . . . . . . . . . . . . . . . . . . . . . . 132
Move/Copy files only . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Convert Only Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Layout Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Layout files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Save layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
On Empty Queue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Flush Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Time Between Checks . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Maximum queues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Spool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
6 Windows Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Window Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Show Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Auto Set Default Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Set Default Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
7 Help Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
8 Message Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Appendix A: Fonts Delivered with ColorBurst . . . . . . . . . . . . . A-1
Appendix B: Tiling Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1
ColorBurst RIP Table of Contents · VII

VIII · Table of Contents Layout Series
1
Getting Started
ColorBurst® is a Windows® PostScript® Language Level 3 Compatible

Raster Image Processor (RIP) that produces a CMYK color composite for
printing to a large format inkjet printer. Color correction is performed
on-the-fly during output to the printer.
ColorBurst supports Scitex CT, CMYK and RGB TIFF, JPG, PDF, and
PostScript file formats. In addition, Crosfield’s “Disk Data Exchange
Format” (DDEF), often referred to as “shared SCSI disk format,” is also
supported in all Professional versions of ColorBurst. The RIP is based on
the 5D Solutions Ltd. JAWS RIP. Supporting all Type1 and TrueType fonts,
ColorBurst is implemented as a 32-bit Windows application. Multiple-
page output is supported from PostScript and PDF files.
Hardware Requirements
To run ColorBurst, your computer should meet the following
requirements.
CPU Pentium IV 2.0 GHz CPU or faster with built-in math

coprocessor.
Disk Space 1 GB of local hard disk space is required. Network
storage can be used but it usually results in slower
throughput. If you want to save intermediate files
created by the PostScript interpreter for future use, or
if your files are very large, 40 GB is recommended.
RAM 1 GB RAM is recommended.
ColorBurst RIP Getting Started ·

USB port An available USB port is required for the ColorBurst
dongle (keycard).
Display 1024x768 minimum resolution is required. A 17” or
larger monitor is recommended.
DVD Drive The ColorBurst installer ships on a DVD. A DVD-ROM
or DVD±RW drive is required to install ColorBurst.
Software Requirements
Windows 2000, 2003, or XP is required; XP is recommended. You must
be logged on at the administrator level to properly install ColorBurst.
ColorBurst Installation Procedure

1. Make sure that Windows is already installed and running on your
computer. You must be logged on at the administrator level to prop-
erly install ColorBurst.
2. Insert the ColorBurst DVD into your DVD-ROM or DVD±RW drive.
The installer will automatically launch (or open the DVD manually if
you have autorun turned off).
3. When the installation starts, follow the instructions on your screen. It
is important to never install a new version of ColorBurst over an exist-
ing version; always select a new folder to install ColorBurst.
4. Plug the supplied ColorBurst dongle into the USB port (a USB dongle
is required).
The ColorBurst installation program creates a program group containing
the ColorBurst icon. The ColorBurst installation process is now complete.
ColorBurst Dongle Utilities

As of ColorBurst version 7.6, a USB dongle is required—the older paral-
lel dongle has been replaced by USB. All parallel ColorBurst dongles
must be converted to USB. To convert a parallel dongle, please contact
ColorBurst Systems to purchase a dongle conversion kit.
The ColorBurst USB dongle driver is automatically installed during

ColorBurst installation. However, if the driver needs to be reinstalled later
· Getting Started Layout Series

for any reason, it is named Install USB Keycard.bat, and can be found in
the ColorBurst\System folder.
Starting ColorBurst
When ColorBurst is started the main ColorBurst window consisting of
a toolbar, work area, and message window is displayed. The Name of
the currently selected Printer Setup file is displayed in the toolbar. When
Auto Set Default Positions is selected in the Windows menu, the win-
dows will be positioned to fit the main ColorBurst screen exactly when
the Layout, File Info, and Message windows are all displayed.
Toolbar Name of currently selected Printer Setup file
Message Window
Status bar
Figure 1.1. The main ColorBurst window.
Each of the menu items on the toolbar—File, Printer Setup, Options,

Spooler, Windows, and Help—is described in the following sections of
this manual.
ColorBurst RIP Getting Started ·

· Getting Started Layout Series
2
File Menu
The first menu item is File. When selected, there are five items avail-
able (including Exit) if no files are currently open. The File Info, Convert,
Convert As, and Scale&Rotate items are not available until a file is
opened.
Figure 2.1. The ColorBurst File menu.
Open
Clicking on Open will display the Open dialog. This dialog allows you
to open a file (CT, CLF, EPS, TIFF, JPG, etc.) from any available local or
network drive and directory and add it to the current layout. If no layout
was previously in effect and displayed on-screen, then a layout window
is created, representing the size of the media. If you are running on a
LAN (Local Area Network) or WAN (Wide Area Network), your network
rights to your login will determine the drives and directories to which you
have access.
ColorBurst RIP File Menu ·

When the file you wish to open is displayed in the File Name field,
double-click on the file to open it, or click on the file once to select it,
then click on Open to open the file. Of course, the file name may always
be entered manually in the File Name entry box.
Figure 2.2. The Open dialog.
If a layout is already in effect when a file is selected, it is added to the

existing layout. Error messages will inform you if the file is invalid (wrong
file type). If it cannot fit in the current layout, the message “Image will
not fit in layout. Add it anyway?” appears. If you choose to Add the file,
it is placed in the layout if any part can fit. If there is no room to place
even the smallest part of the image in the layout, the same message is
displayed until No or Cancel is selected.
When a file is opened and added to the layout, it will appear either as an
outline with the file name or as a bitmapped preview of the file. When a
file is ripped in ColorBurst, a preview is saved for the file and will be au-
tomatically used when it is opened again (the preview file is saved in the
Bitmaps folder). Otherwise, an outline with the file name inside is shown
until the file is displayed and a bitmap preview is created. Bitmap preview
files are created for screen display only and are not antialiased. The
· File Menu Layout Series

bitmap image size may be set to Low, Medium or High in the Window
Options dialog.
NOTE: If a file is modified/saved after being ripped in ColorBurst,

the preview bitmap is no longer valid. The file will appear
as an outline in the Layout window until it is ripped again in
ColorBurst.
To delete a bitmap preview file through ColorBurst, select the image in

the layout. While holding the Control key, click the image. A dialog will
appear asking if you want to delete the bitmap for this file; click Yes to
delete the preview. The file will now appear as an outline in the Layout
window and must be displayed again to create a new preview. It is help-
ful to delete a bitmap preview file when changing display resolutions or
ICC display profiles; deleting and re-displaying the file will update the
bitmap preview with the new settings in effect.
Restore Last Job

The Restore Last Job item will open the last layout that was printed. If
you close a layout before it is printed, the layout information is lost.
File Info
The File Information dialog serves two purposes. First, it lets you verify
that the selected file is indeed the file you want to process. Second, it is
a shortcut to start processing, i.e., printing, displaying, or modifying the
layout or images. This dialog appears automatically after you select a
valid file (TIFF, JPG, CT, CLF, EPS, etc.) in the Open dialog. You can also
display this dialog by choosing the File Info menu item under the File
menu on the menu bar or by clicking on a file in the Layout window.
Once a valid file is selected in the Open dialog, it remains selected until
you open another file, add another file to the layout, or select another
file in the Layout window. The Step&Repeat, Scale/Rot, and Delete but-
tons, as well as the Display command, process the selected file. At any
ColorBurst RIP File Menu ·

time you may want to display this dialog to be sure that the file you want
to process is currently selected.
Figure 2.3. The File Information dialog. This dialog appears when any image is opened
(File > Open). It can also be accessed by selecting File > File Info.
The top portion of the dialog gives general information about the se-
lected file. This information includes the file name, drive/directory path,
file type, and file size.
Change Layout
The middle part of the dialog is the Change Layout group. “Layout”
refers to ColorBurst’s ability to position and print multiple files at a time.
The command buttons here can be executed with a single mouse click.
Add button
The Add button allows you to add an illustration to the current layout. It
is equivalent to closing the File Information dialog and issuing an Open
command under the File menu on the menu bar. The Open dialog dis-
plays, allowing you to add an illustration from any available path. If the il-
lustration that you select is already in the layout displayed on the screen,
you will be asked to confirm that you want to add a duplicate.
10 · File Menu Layout Series

If the file selected is valid, it will become the currently selected file.
Information about the file will be displayed in the top portion of the File
Information dialog, and a blue outline representing its size and position
will be added to the layout window.
Step&Repeat button
The Step&Repeat button opens the Step and Repeat Options dialog.
This dialog lets you specify how to duplicate the selected image in the
Layout window.
Figure 2.4. The Step and Repeat Options dialog. This dialog can be opened by clicking
the Step&Repeat button in the File Info dialog.
There are three default selections when the dialog opens—Fill layout,
Fill width of layout, and Fill height of layout. These three options work
together. When these three options are selected, multiple copies of the
selected image are added to the layout, as many times as it will fit. If the
selected image is the only image in the layout, Step&Repeat performs
the expected task of filling the layout with only this image. Other images
may be in the layout when you select the Step&Repeat button. The
space remaining on the media is used to try to fit the selected image us-
ing the current best-fit formula in effect.
You may specify a number of images to add to the layout by entering a

value in the Limit total to entry box. For example, if you enter a value of
5, the image will be repeated five times in the Layout window, as long as
there is enough space in the Layout window for all five images to fit.
ColorBurst RIP File Menu · 11

NOTE: If you enter a number of images, the selected image is con-
sidered the first image, and more images are added to make
up the total number of images.
The Fill columns group lets you add images in a specified number of
columns. The Rows group lets you add images in a specified number of
rows. If both of these options are selected, the image will be repeated in
the specified number of columns and rows.
Scale/Rot button
The Scale/Rot button allows you to scale and/or rotate the currently
selected image through the Scaling & Rotation dialog. This button is
equivalent to the Scale&Rotate menu item. See the description of the
Scale&Rotate menu item for detailed information.
Refit button
The Refit button repositions every illustration in the layout according to
the current best-fit formula in effect. You may change the best-fit formu-
la in the Layout Options dialog. The main use of Refit is to undo manual
repositioning that you may have made using the mouse or Reposition
button, or to close a hole in the layout created after a file is deleted.
Reposition button
The Reposition button opens the Set Current Position dialog. Entering
values for In and Down places the upper left corner of the selected im-
age at those exact coordinates in the layout. The default unit of measure
used here is set in the Printer Options dialog.
Figure 2.5. The Set Current Position dialog, opened by clicking the Reposition button
in the File Info dialog.

Write CLF button
You can save a layout at any time by selecting the Write CLF button.
Color Layout Format (CLF) files contain pointers to one or more illustra-
tions that make up a layout.
You open CLF files like any other type of image file, and the extension
.CLF is a defined search extension in the Open dialog. All files pointed to
within the CLF file are added to the current layout as if you had issued
an Open command or selected add in the File Information dialog for
each image individually. The last image found in the CLF file becomes
the currently selected file and its information is displayed in the File
Information dialog.
The CLF contains the positions of all files in the saved layout. An attempt
is made to put the files in the same positions that they were saved in,
if there are no files in the current layout. If there are files in the current
layout when the CLF is read, each file from the CLF is repositioned as it
is added to the layout. If you use a “best-fit” formula that repositions all
files whenever a new file is added, the positions of the files in the CLF
may change even if there are no files in the current layout.
If job titles were in effect when the layout was saved, the positions have
been altered to allow room for the titles. If image positions are main-
tained and job titles are no longer in effect, there will be extra space
around the images. More significantly, if job titles were not in effect
when the layout was saved and they are when you read the CLF, images
may overlap because of the additional room needed for titles. If this pos-
sibility exists, you should select the Refit button in the File Information
dialog to reposition all images after reading the CLF file.
Saving a layout is the only way you can send a cropped, scaled, rotated,
or tiled image to the spooler. The Write CLF button displays the Save As
dialog for saving the current layout under any name and in any directory
that you choose. If you are adding many images to a layout, it is a good
idea to save the layout periodically.

NOTE: Spooler uses CLF files when layouts are in effect. Files enter-
ing the queue monitored by Spooler are pointed to by a
CLF file named SPOOLER.CLF, so you should avoid using this
name for your layout. See Spooler Layout Options for more
information.
Delete button
The Delete button deletes the currently selected file from the layout.
Before deleting, you will be asked to confirm that you really want to
delete the file. After you confirm the deletion, the layout is checked
for duplicates. If found, you will be asked whether all copies of the file
should be deleted. Answering Yes deletes all copies, and answering No
deletes only the selected block from the layout.
Clear button
The Clear button clears every file in the layout, leaving an empty layout
window. This inhibits printing since there must be at least one file in the
layout for the Print command to work.
Select a File Option

The lower portion of the File Information dialog is the Select a File
Option group. This group allows you to start processing the selected file.
Selecting one of these options and choosing the Start button is exactly
like selecting one of the options under the File menu. The Print radio
button (the default selection) is equivalent to the Print menu item, the
Display radio button is equivalent to the Display menu item, and the
Convert To and Convert As buttons are equivalent to the Convert and
Convert As menu items.
Figure 2.6. The Select a File Option settings in the File Info dialog. The Start button is
used to begin the process selected here (Print, Display, or Convert).

Start button
If you are ready for processing, select the File Option and click the Start
button or press <Enter> on the keyboard. The File Information dialog
disappears and printing, displaying, etc. begins immediately.
It is not necessary to start processing immediately. If, for example, you

need to set up Printer or PostScript Options, or if the file selected is
not the file you want, simply click the Cancel button or press <Esc> on
the keyboard. The File Information dialog will disappear, but the file is
still selected and the layout is still in effect. The next time you select
Display, for instance, the currently selected file will display on the screen.
Selecting Print will print the layout.
Convert, Convert As
ColorBurst allows you to create TIFF and Scitex CT files through the File
menu and the File Information dialog box, as well as the Spooler.
Figure 2.7. The Convert and Convert As menus.
The Convert command is only available after a file has been selected.
The conversion taking place is from any image format, such as an EPS
or a TIFF, to a TIFF or a Scitex CT, as selected in the sub-menus of the
Convert and Convert As menus. The file is saved with the current file
name and a .TIF or .CT extension, depending on which file type is se-
lected, to the path specified in Output Directory of the Postscript/Layout
Output File Options dialog box.

When a file is converted, the progress of file conversion is shown in a
progress window. A gauge at the center of the window shows the per-
centage completed. This process may be stopped at any time by select-
ing the Cancel button or pressing <Esc>.
Figure 2.8. The Convert progress window.
Convert As allows you to name the output file. The file type may also be
selected by choosing either “To TIFF” (CMYK TIFF) or “To CT” as a sub-
menu selection from Convert and Convert As.
The naming convention (.TIF or .CT) used for Convert is also the default
name for Convert As. Note that the default directory for this dialog box
was specified as the Output Directory in the Postscript/Layout Output
File Options dialog box. Also note that like files cannot be converted; a
file that is already a CMYK TIFF will not convert to a CMYK TIFF, nor will
a CT file convert to a CT (an RGB TIFF can be converted to a CMYK TIFF).
Print
The Print command starts the printing process, which always includes
all images in the current layout rather than single files. A single file is
printed when it is the only image in the layout.

If no file has been selected or if there is no current layout, i.e. the layout
window is not displayed on the screen, Print acts exactly like Open to
allow you to add a file to the current layout.
When one or more files have already been added to the layout and Print
is selected, a Print progress window appears. This screen gauges the
progress of the RIP and the printer.
The progress of the printer is graphically enhanced to better show the

actual printing. The progress “bar” is a thumbnail of the current layout
on the media. Any offsets in effect are shown in the thumbnail. As a
portion of the layout is printed, it turns gray. The actual percent of the
entire layout that has been sent to the printer displays to the right of the
thumbnail. You may abort printing at any time by selecting the Cancel
button or pressing <Esc> on the keyboard.
Figure 2.9. A progress window is shown during printing.
The position of images on the print media, the number of copies to

print, etc., are controlled by the Printer Options dialog.
Display
The Display command is used to display, crop, and tile an image on
the screen, and has a shortcut to scaling and rotation. You can also
double–click an image preview in the Layout window to open the

Display window. When an image is displayed, it appears in a scalable,
moveable window, initially centered in the main ColorBurst window.
If rulers are turned On in the Window Options dialog (found under
the Windows menu), they will appear at the top and left side of the
Display window. The file name is shown at the top of the window. Four
image modification buttons (Crop, Crop to Size, Tile, and Scale/Rotate)
appear at the bottom left corner of the window. Close and Restore
buttons appear in the center bottom. Four zoom buttons (Zoom to
Marquee, Zoom Up, Zoom Down, and Best Fit) and a zoom pop-up
menu are located to the right.
When you Display a multipage PostScript file, each page is displayed

individually. The page displayed is the page that is currently selected in
the layout.
Figure 2.10. The Display window. A file can be displayed by double-clicking the file in
the Layout window, or by selecting Display and clicking Start in the File Info dialog.
The size of the display window is proportional to the size of ColorBurst’s

main window. ColorBurst tries to fit one dimension of the display

window to the size of the main window. All images (TIFF, JPG, CT, etc.)
are run through the PostScript RIP and scaled to fit the display window.
Standard Windows moving and sizing of boxes with the mouse or key-
board is supported. If the image is resized, it is always kept proportional
so the image may not always fill one of the dimensions of the display
window. Only one image can be displayed on the screen at a time.
Image Zoom buttons

The four zoom buttons and the pop-up menu at the bottom of the
Display window allow you to zoom in and out of an image. These tools
are the same as the ones located in the Layout window; you can zoom
in both the Layout and Display windows. The maximum zoom percent-
age is 1600% and the minimum size is 25%.
Figure 2.11. The Zoom buttons at the bottom of the Display window.
To use the Zoom to Marquee button, click it once to select it. Then click
and drag over the image to select the area to zoom in on. The Zoom Up
and Zoom Down buttons are clicked once to make the image zoom in
or out. The Best Fit zoom tool is clicked once to return the image to fit in
the window. Best fit displays 100% of either the width or height for the
current display window size.
The zoom pop-up menu is used to set the zoom to a certain percentage
of the original size. You may select any of the preset percentages or type
a number into the box for a custom zoom. The Best Fit options will resize
the image to fill one dimension of the Display window, either the width
(Best Fit Horiz.) or the height (Best Fit Vert.).
When an image is zoomed up and exceeds one dimension of the Display

window, a scroll bar will appear; this allows you to scroll to see the rest
of the image. The scroll bar will disappear if you zoom down and it is no
longer needed.

Cropping
Cropping is available in the Display window. To frame an area within the
display that you want to crop, simply hold down the mouse button and
drag the mouse to select the area. Once an area has been selected, you
can drag the frame around to get the exact crop. You may also resize the
crop box. As you move the cursor within range of a side or corner of the
crop box on the screen, you will see the cursor change to the resize cur-
sor arrows. If you click the mouse when this cursor is showing, you are in
resize mode. The regular (arrow) cursor will be positioned at the side or
corner and normal Windows resize functions will take place.
Click the Crop button (the first button) to reduce the original image to
the selected area. The layout window will automatically reflect the new
image size, outlined in dashed lines. If you are not satisfied with your
cropped area, you can drag or resize the cropped area to reposition the
crop. You may also select the Restore button to undo the crop. The origi-
nal image will display, and you may crop the image again. Selecting the
Close button will close the Display window and finalize your crop. If you
decide not to crop the image, Restore the image and Close the window.
You may crop a file with multiple pages. You may choose to crop each
page separately, or you may crop each page in the same way. To crop all
pages in a file at once, select the first page of the file and then Crop. You
will be asked, “Make same change to all pages in job?” If you click Yes,
all pages will be cropped. If you click No, only the currently selected page
will be affected.
Unless you restore the full image, the image will be cropped when it is
printed. Cropping does not alter the original file. All cropping informa-
tion is stored in the internal structures of the layout. The crop remains
in effect as long as the layout remains in effect. The only way to save
cropping information is to write a CLF file. If you want to send a cropped
image to the spooler, you must crop the image on the screen, select the
Write CLF button in the File Information dialog to write a CLF file, and
then send the CLF file to the spooled queue.

Crop to Size
The second button at the lower left corner of the Display window is the
Crop to Size button. Clicking this button once will open the Crop Box
Size dialog. This dialog allows you to enter the exact dimensions of your
cropped area. You may also enter the exact coordinates of the top left
corner of the crop box.
Figure 2.12. The Crop Box Size dialog. This dialog is opened by clicking the Crop to
Size button in the Display window.
If you have already cropped your image and then click Crop to Size, the
dimensions and placement values of your current crop will be shown,
and may be changed. If the image is not cropped, the full size of the
image is entered in the size width and height.
Tiling
Images may be tiled through the Display window. When you display an
image, you will see a Tile button (the third button from the bottom left
corner of the Display window) after the two cropping buttons (Crop
and Crop to Size). Clicking the Tile button once changes the display to
tiling mode. The buttons in the bottom center of the window change
from Close and Restore to Save and Cancel, red dashed lines divide the
image into tiles, and red tile numbers appear in each tile. The initial
placement of the tile lines and numbers depends on the settings in the
Tiling Options dialog. Use the Cancel button to cancel tiling without
closing the Display window, and click Save to save tiling without clos-
ing the Display window.

Figure 2.13. A tiled image in the Display window.
Tiles may be adjusted three ways—manually, through the Change Tiles

dialog, and through the Tiling Options dialog. ColorBurst will not al-
low you to create tiles larger than the Layout Area or smaller than the
Minimum Tile Size set in the Tiling Options dialog. If you stretch a row or
column and an adjacent row or column becomes smaller than the mini-
mum size, it is eliminated. The eliminated row or tile can be recovered by
making the stretched row or column smaller again.
When adjusting tiles manually, there are several options available. Placing
the arrow over a red dashed line changes the arrow to the resize arrow;
click the mouse and move the line to stretch the column or row of tiles.
Click the right mouse button over a tile to move that row of tiles. Click
the left mouse button over a tile to move that column of tiles.
Change Tiles
Once you are in tiling mode, if you click the Tile button a second time, the
Change Tiles dialog will open. This box allows you to enter the number
of tile columns and rows, as well as resize each individual tile and specify

which tiles to print. The current number of columns and rows appears
when you open the box; the calculated size of the tiles resulting from
these numbers appears below in the entry boxes. This dialog is also avail-
able from the Scaling, Rotation, & Tiling dialog, by clicking the Tile button.
There are three ways to constrain tile sizes. If you select Keep columns in
row/rows in column the same, all of the tiles within a column will be the
same width, and each tile in the same row will be the same height. You
may also choose to keep only one of these dimensions the same, allowing
you to create staggered tiles of different sizes within each row or column.
The Select Tiles to print group allows you to print specific tiles. Each tile
is numbered according to the Print Rows or Print columns setting in the
Tiling Options dialog. Each tile that will print is numbered in the Display
window. The default is to print all tiles, so all tiles will display with a
number when a file is tiled. When any other range is entered, only the
selected tiles will display with tile numbers, and only those tiles will print.
Figure 2.14. The Change Tiles dialog. This dialog is opened by clicking the Tile button
in the tiling mode of the Display window.
Clicking the Reset button will restore the Tile Size set in the Tiling
Options dialog. Click the Undo Tiling and then Save to remove all tiling

from the image. Clicking Save will close the Change Tiles dialog and
divide the image into equal tiles according to the numbers entered in the
Columns and Rows boxes. Clicking Cancel closes the Change Tiles dialog
without making any tiling changes.
Once the Change Tiles dialog is closed, to save your tiling information,
select the Save button. The buttons at the center will change back to
Close and Restore; click the Close button to close the tiled image.
When tiling is saved and the Display window is closed, the box in the
layout window representing the image will change to represent only the
first tile of the image. If you print the first tile, the printer will advance
and print each succeeding tile until all tiles are printed. Tiles can be
printed in order of rows or columns, as set in the Tiling Options dialog.
Unless you Cancel the tiling information, the image will be tiled when
it is printed. Tiling does not alter the original file. All tiling information
is stored in the internal structures of the layout. The tiling information
remains in effect as long as the layout remains in effect. The only way to
save tiling information is to write a CLF file. If you want to send a tiled
image to the spooler, you must tile the image on the screen, select the
Write CLF button in the File Information dialog to write a CLF file, and
then send the CLF file to the spooled queue.
If you want to tile an image that is scaled, rotated, and/or cropped, it is

a good idea to make those changes before tiling the image. If the tile
size is set to a specific size in the Tiling Options dialog, making the image
larger (by scaling or changing its crop) may result in more tiles. Making a
file smaller may result in fewer tiles. If you set a number of columns and
rows in the Change Tiles dialog, making the image larger will make each
tile larger, which may result in tiles that are larger than the layout area.
Likewise, making the image smaller will make each tile smaller, which
may result in tiles that are smaller than the minimum size. If this occurs,
an error message will appear to inform you that tiling will be reset to tile
by the size set in the Tiling Options dialog. Any changes from scaling,
rotation, or cropping changes will undo manual tiling.

You may print multiple copies of each tile by entering the number of
copies in the Printer Options dialog. The first tile will print as many times
as specified, then the second, and so on.
Tiles are always printed with cut marks to show where the overlap and
trim is to be cut so that adjacent tiles abut exactly. These marks are always
1/4 inch long by one pixel wide and are positioned according to the Tile
Overlap and Trim Outside Tiles values entered in the Tiling Options dialog.
Scale&Rotate
The Scaling, Rotation, and Tiling dialog can be opened by choosing
Scale&Rotate from the File menu, by clicking the Scale&Rot button in the
File Information window, or by clicking the fourth button from the bottom
left corner of the Display window. Scale&Rotate will be disabled in the File
menu if no files are open. The Scaling, Rotation, and Tiling dialog contains
three tabbed windows; it opens in the Scale, Rotate, Tile tab.
General tab
The first tab from the left, General, shows the currently selected file’s
name and information. The Unit of Measure, used for layout and file
dimensions and in the Display window, may also be changed here.
Figure 2.15. The General tab of the Scaling, Rotation, and Tiling dialog.

Scale, Rotate, Tile tab
The Scale, Rotate, and Tile tab provides several options for scaling im-
ages, including a scaling method specific to tiling. You may also rotate
files and access the Change Tiles dialog.
Figure 2.16. The Scale, Rotate, Tile tab of the Scaling, Rotation, and Tiling dialog.
The first way to scale an image is Scale by percentage. A number

entered here changes the image size to a percentage of the original
size. Therefore, numbers less than 100 make the image smaller, while
numbers greater than 100 enlarge the image. The default is 100%, the
original size of the image. The Height box is enabled when the Scale
width and height independently checkbox is selected; this allows for
each dimension to be scaled to a different percentage.
The second way to scale an image is by a user-defined width or height.

When a number is entered in either the Scale to width or Scale to height
entry box, the other dimension will automatically change to keep the
proportions of the original file, unless the Scale width and height inde-
pendently checkbox is selected. You may enter the width or height in
printers points, picas and points (p), inches (i), feet (f), millimeters (mm),
centimeters (c), meters (m), or pixels (x). The default unit can be selected
in the Units of Measure pop-up menu (located in the General tab).

The Scale width and height independently checkbox allows for anamor-
phic scaling. When this box is selected, you may scale the width and
height without affecting the other dimension. When this box is un-
checked after scaling a file, the original ratio is used based on the value
in the Width box.
Scale to Layout Size

A third method of scaling is by the width or height of the layout size.
Selecting either the To Width or To Height button in the Scale to Layout
Size group changes the width or height of the selected image to the
width or height of the layout size. Once one of these buttons is se-
lected, the dimension and percentage values in the dialog will change
automatically.
Scale to Tile Size

The Scale to Tile Size group makes tiling a scaled image easy. Set the tile
size in the Tiling Options dialog. Enter the number of tiles you want to
print in the Number of tiles box. Select the To Width button to scale the
image so that there are that number of tiles at the set width across, or
the To Height button to scale the image so that there are that number of
tiles at the set height down. The dimensions will automatically change in
the Scale to width and Scale to height boxes. The total number of tiles
(across and down) is shown below the To Height button.
Reset Scaling
To undo scaling and return to the original image size, select the Reset
Scaling button.
Rotation
You can rotate a file by selecting one of the four file
orientation symbols in the Rotation group, shown right.
An image may be rotated in 90° increments. The “T”
shape in the 4 boxes indicates the top of the file. By default, the upper
left symbol will be highlighted, which means the top of the file is up, and
the image has not been rotated from its original orientation. The upper
right symbol will rotate the image 180° from its original orientation,
making it appear upside down. The lower left symbol, when selected,

will rotate the image 90° to the left, and the lower right symbol will
rotate the image 90° to the right of the original orientation.
You may scale and/or rotate a file with multiple pages. You may choose
to alter each page separately, or you may alter each page in the same
way. To scale or rotate all pages in a file at once, select the first page of
the file and then scale or rotate. You will be asked, “Make same change
to all pages in job?” If you click Yes, all pages will be changed. If you
click No, only the currently selected page will be affected.
You can change the size of tiles without having to display an image by
clicking the Tile button. This button will open the Change Tiles dialog,
which allows you to enter tile size values directly. You may also remove
tiling from the image entirely.
PostScript Only tab
The PostScript Only tab can be used to change the page size of a
PostScript file. When a PostScript job is opened, its size is determined
from its header. Often, however, this size is incorrect, usually because
the software that created the file assumed a specific paper size that was
too small to fit the full image. This results in showing just the lower left
portion of the image or even a completely empty image where no part
of the job falls inside the page window.
To change the page size, enter a new page width and height. The image
itself does not change; only the window enclosing the image changes to
the new size. The scaling factor is not affected. The box representing the
image in the layout window changes to reflect page size changes, and
the layout is refit. Use the Reset Size button to revert back to the file’s
original dimensions.

Figure 2.17. The Postscript Only tab of the Scaling, Rotation, and Tiling dialog.
Select the OK button to finalize your selections and close the Scaling,
Rotation, and Tiling dialog. When the window is closed, the layout will
reflect any changes you made. A scaled image will appear at its new size
with its name in red type. A rotated image will appear at its new ori-
entation; the name of the file is rotated as well to indicate the angle of
rotation. If you display a rotated image, the display will show the image
rotated. You may select a scaled and/or rotated image and scale and/or
rotate the image again. If you restore a scaled image back to its original
size (100%) and select the OK button, the layout will show the image at
its original size, and the name will go back to blue type.
NOTE: When an image is scaled or rotated, a general refit takes

place. Refit repositions all images using the current best fit
formula. Any repositioning using the mouse will be lost.

3
Printer Setup Menu
The second menu item is Printer Setup. This menu is used to save and
restore ColorBurst settings as a Printer Setup file, also known as a
ColorBurst “environment”. The name of the Printer Setup file (.env file)
currently in use is displayed in the menu bar after the Help menu.
Figure 3.1. The Printer Setup menu is used to load and save Printer Setup files, also
known as ColorBurst "environments."
A Printer Setup file contains ColorBurst settings from all of the Options
menu dialogs that take effect without restarting ColorBurst. When
ColorBurst is installed, a folder named “ENV” (short for “environment”)
is created in the ColorBurst folder that contains printer setup files
(named *.env) for different printers, inks, and media. Printer Setup files
not only make using ColorBurst extremely convenient, they are the most
important part of multi-queue spooling. They tell the spooler how to
handle the files in a particular queue during spooling.
Load
Selecting Load under the Printer Setup menu opens a standard Open
dialog, with the default path as the ColorBurst ENV folder. After choos-
ing a file, a message will appear asking you if you are sure you want
to restore the ColorBurst environment. Restoring a Printer Setup file
ColorBurst RIP Printer Setup Menu · 31

restores the options saved in the Printer Setup file, and you will lose
the current settings. The name of the newly restored printer setup file
appears in the menu bar. The Message window also states that the file
was restored.
Figure 3.2. The Open dialog appears when you select Printer Setup > Load.
Save and Save As

Selecting Save will save your ColorBurst settings by overwriting your
current ENV file. Choosing Save As will open a Save As dialog. Saving a
printer setup file saves all current settings in all Options dialogs that take
effect without restarting ColorBurst in an ENV file.
Your custom Printer Setup file may be restored at a later time, and may
be used by the Spooler. Each spool queue can use a different Printer
Setup file. All files in a queue will be processed using the settings in
the Printer Setup file specified. For more information on Spooling, see
Chapter 5: Spooler Menu.
32 · Printer Setup Menu Layout Series

4
Options Menu
The third menu item is Options. All of these selections open dialogs that
establish the working environment for ColorBurst.
Figure 4.1. The ColorBurst Options menu.
Printer Options
The first selection in the Options menu is Printer Options. Selecting this
will display the Printer Options dialog.
Before describing the contents of this dialog, a brief description of the

layout feature is necessary. A layout is in effect when the layout win-
dow is displayed on-screen. This window emulates the media that the
selected printer uses. The layout window is proportional to that media;
the layout window title bar displays the dimensions of the media and a
dashed line shows the printable image within that media. The dimen-
ColorBurst RIP Options Menu · 33

sions displayed in the title bar are in the units selected in the Units of
Measure group.
General tab
The Printer Options dialog opens in the General tab. This tab contains
important settings for your printer including printer type, layout size,
and resolution.
Figure 4.2. The General tab of the Printer Options dialog.
Printer and Port

The Printer and Port group allows you to select your printer model
and choose the printer port that your printer is attached to. When you
choose ENCAD, HP Series, Epson, Mimaki, or Roland in the Printer pull-
down, you can click the Setup button to open a Printer Setup dialog box.
The other printers do not have special setups. Each Printer Setup is de-
scribed in detail below. In the ProLab version of ColorBurst, the LightJet
and Lambda are also available.
34 · Options Menu Layout Series

Printer Port
The Printer Port pulldown menu allows you to select an output port for
your printer. You will see LPT1, LPT2, LPT3 and None in the pulldown list,
as well as any defined NT print queues. Choose the port that your printer
is physically attached to. You may select None if you are saving files only
and do not intend to send data to a printer. See Write to RTL file for
more information on saving RTL files using the None port.
ENCAD Printer Setup

To set ENCAD options, choose ENCAD in the Printer pop-up menu and
click the Setup button. The ENCAD Printer Setup dialog will open.
Figure 4.3. The ENCAD Printer Setup dialog.
The ENCAD Printer Model pop-up menu lets you specify how many inks
your printer supports. When using a four-color printer, select CMYK only
printers in the pop-up menu. When you select 850C and similar in the
pop-up menu, the ENCAD 850C only group becomes active to allow
you to specify which cartridges will be used. Selecting 4 inks will make
the Ink cartridge sets pop-up menu active, allowing you to choose the
left, right or both sets of cartridges to use for printing.
When you print to a ENCAD, the paper will not automatically cut after
printing unless you select the Turn on automatic cut feature checkbox.
The Bidirectional printing checkbox turns bidirectional printing on and

off. Normally the printhead prints while moving in one direction, then
moves back to the starting point to print the next pass. Bidirectional

printing will put ink down while the printhead moves in both directions.
This results in faster printing with a slightly lower print quality.
Epson Printer Setup

When you choose Epson in the Printer pop-up menu and click the Setup
button, the Epson Printer Setup dialog opens, allowing you to set spe-
cific Epson settings.
Figure 4.4. The Epson Printer Setup dialog.
The Epson Printer Type pop-up menu tells ColorBurst which type of
Epson printer you are using so it can communicate with the printer
correctly. The printer selected in this pop-up menu determines which
choices are available in the rest of this dialog.
The Printer Resolution pop-up menu shows the available printer reso-
lutions for the printer type you have selected. For printers that allow
variable dot printing, you will see variable dot resolutions listed as well
as single dot resolutions (standard). When a variable dot resolution is
chosen, the printer will use ink droplets of different sizes. Variable dot
increases print quality.

The Printer Dot Size pop-up menu shows all dot size options available for
the printer and resolution you have chosen. The dot size will affect print
quality—the smaller the dot, the finer the print.
If Epson’s Microweave is available for the selected printer, you will see
the valid choices listed in the Microweave pop-up menu. If Microweave
is not available, you will have only one option, “Off.”
Depending on the printer you have selected in the Epson Printer Type
menu, you will see a list of available color modes. Choose the number
of inks that you want your printer to use. When 6 color (or higher) is
chosen in the Number of Installed Inks menu, the Light Ink Curves in the
Color Adjustments dialog will be activated.
The Use bidirectional printing checkbox turns bidirectional printing on

and off. Normally the printhead prints while moving in one direction,
then moves back to the starting point to print the next pass. Bidirectional
The Cut Media checkbox tells the printer to cut after printing is com-
pleted. This setting overrides any settings on the control panel of the
Epson printer.
HP Printer Setup
When you choose HP Series in the Printer pop-up menu and click the
Setup button, the HP Printer Setup dialog opens. This is where you can
set specific HP settings.
The HP Printer Type pop-up menu is important if you select Use special
print method, which enables the Special Print Only group. ColorBurst
needs to know which HP printer you are using so it can properly com-
municate with the printer when using the options in the Special Print
Only group.
When you print to the HP, the paper will automatically cut after printing
unless you select the Inhibit automatic cut checkbox.

Figure 4.5. The HP Printer Setup dialog.
Selecting the Double Horizontal Resolution checkbox will double the

ColorBurst print resolution. The maximum resolution you may en-
ter in the DPI box in the Printer Options dialog is 720 dpi. Use the
Double Horizontal Resolution checkbox to print at 1440x720 enhanced
resolution.
Selecting Use Special Print Method gives you access to the Special Print
Only group. The Use bidirectional printing checkbox turns bidirectional
printing on and off. Normally the printhead prints while moving in one
direction, then moves back to the starting point to print the next pass.
Bidirectional printing will put ink down while the printhead moves in
both directions.
Selecting UV inks will decrease print speed, which is necessary for UV

inks—you must select this option when using UV inks to maintain print
quality.
The Number of print passes box allows you to set the number of passes
through ColorBurst. However, if you plan on using 8 pass or 6 pass, it
is recommended to use the front panel on the HP to set your number
of passes.
8 pass select Best (2000 series) or Photo (3000 series) on

the front panel of the HP; prints 18 square feet/hour

6 pass select Normal (2000 series) or Productivity (3000
series) on the front panel of the HP; prints 28 square
feet/hour
4 pass 42 square feet per hour (recommended for photo
gloss and semi-gloss)
2 pass 2 square feet per hour (designed for heavy bond)
The Shorten advance (micro units) box allows you to physically shorten
the printhead advance. This is useful when you are getting banding
in your output and you are sure all of your jets are firing. To test your
printhead, go to the front panel of your HP and press the Enter button.
Scroll to Utilities, select Service tests, then select Image quality print.
The HP will print a test pattern that will show you if all of your jets are
firing properly. If they are and you are getting banding, enter a positive
number in the Shorten Advance box to shorten the advance, or a nega-
tive number to enlarge the advance. The recommended number is 3;
requiring a value over 5 indicates a printer problem.
Roland Printer Setup

When you choose Roland in the Printer pop-up menu and click the
Setup button, the Roland Printer Setup dialog opens, allowing you to set
specific Roland settings.
Figure 4.6. The Roland Printer Setup dialog.
The Roland Printer Model pop-up menu lets you specify which Roland
printer you are using. When the FJ-500/400 is selected, the Model

FJ-500/400 only group becomes active. The Print Mode pop-up menu
allows you to change the resolution and specify whether the printer uses
a fixed size or variable size dot.
When the FJ-500/400 is selected in the pop-up menu, you may choose
either 4, 6, or 8 inks used for printing. Selecting 4 enables the Ink type
buttons, to choose between Dye and Pigment.
When Other models is selected in the pop-up menu, you may only
choose printing with 4 or 6 inks. Other Models also activates the Use
small dot for printing checkbox. Select the Use small dot for printing
checkbox if you want the Roland to print at 720 dpi. If it is unchecked,
the Roland will use regular dots, which is 360 dpi.

Select the Enable automatic cut after printing checkbox if you want the
Roland to automatically cut the media after the print is finished.
Mimaki Printer Setup

When you choose Mimaki in the Printer pop-up menu and click the
Setup button, the Mimaki Printer Setup dialog opens, allowing you to set
specific Mimaki settings.
Figure 4.7. The Mimaki Printer Setup dialog.

Select the 6 Color Printing checkbox if you want the Mimaki to print us-
ing six ink cartridges.

Select the Automatic cut after print checkbox if you want the Mimaki to
automatically cut the paper after the print is finished.
Units of Measure
The Units of Measure pop-up menu sets the default unit of measure-
ment used in ColorBurst: Printers points, Picas and Points (p), Inches (i),
Feet (ft), Millimeters (mm), Centimeters (c), Meters( m), or Pixels (x).
There are two methods in which these values may be entered. The first is
to select the type of units you are using in the Units of Measure pop-up
menu, then enter your offset values. The second method is to enter the
value, then follow it with the letter(s) designating your unit type. After a
value has been entered, it will be converted to the unit of measurement
currently selected in the Units of Measure option box.
Unlike all other units, pixels is not an absolute unit. An offset of 200 pix-
els when printing at 200 dots per inch (dpi) is a one inch offset, but an
offset of 200 pixels at 300 dpi is only 2/3 inches. Internally, offsets are
saved as printers points. Whenever you enter an offset in pixels, it is con-
verted to printers points using the current Output Resolution specified in
the PostScript Interpreter Options dialog. As long as you do not change
resolutions, you should have no side-effects when offsetting in pixels.
Mirror Image
The Mirror Image checkbox in the Printer Options dialog allows you to
print an image reversed. That is, the printed image would be correct only
if you look at its reflection in a mirror. You should use this option when
printing on transparent material that is to be backlit when displayed.

Write to RTL File
The Write to RTL checkbox determines whether or not an RTL file is
saved. RTL files are files written in the internal format needed by the
printer. Because all color correction and pattern finish have already been
resolved before the RTL file is written, printing an RTL file is very fast.
This makes RTL files very useful when printing multiple copies. When you
specify that multiple copies should be printed, an RTL file is always cre-
ated regardless of the setting of Write to RTL File. After the first copy is
done, the RTL file is read for all subsequent copies. This should speed up
printing. If you have not selected Write to RTL File, the RTL file created
for multiple copies is a temporary file that is deleted after all copies have
been printed.
RTL files are saved with the extension .RTL. Tiled files saved as RTL files
create an RTL file for each tile, each with the same name. The extension
for these files starts with RTL, then R00, R01, etc. through R99.
The Write to RTL File checkbox works with the Printer Port pop-up menu
to determine where output is directed. If Write to RTL File is selected
and the printer port selected is None, an RTL file is created in the Output
Directory set in the PostScript/Layout Output File Options dialog. If both
an LPT port and the “write” option are selected, then the file is output
to the printer and written as an RTL file to disk. When a print queue is
selected, an RTL file is written to the queue and then sent to the printer.
An RTL file can be copied directly to the printer at a later time for faster
throughput.
Number of Copies
To print more than one copy of a layout, specify the number of prints
you want in the Number of Copies edit box. A value of “0” (the default
value) is equivalent to “1” which gives you one print. The maximum
number of prints allowed is 50.
If you enter a negative number in the edit box, an error message displays
and “0” is substituted for the invalid value. If you enter a value greater
than 50, an error message is displayed and “50” is substituted for the
invalid value.

Layout Area and Resolution
The Layout Area and resolution group defines the layout area for the
current printer. The size of the layout area is represented in the layout
window and is used in all best-fit formulas for positioning images in a
layout. Whenever you change the size of the current layout area and
save the changes, the layout window is automatically updated. If there
are images in the layout when the layout area size changes, all images
are refit within the new layout area, which may cause images to no
longer fit. It is recommended that you change the layout area when the
layout is empty.
You can set the width and height of the Layout area in the Width and
Height edit boxes, using the currently defined units of measure or special
characters to define the units desired. For most printers, you can set the
resolution of your printer in the Across edit box (see Note below). The
Across box shows the horizontal resolution. The Down box displays the
vertical resolution and is for display purposes only; this field can not be
edited directly. When a value is entered in the Across box, the Down box
is changed to match the Across value. To set a resolution in which the
horizontal and vertical resolutions do not match, use the Setup button to
select a resolution in the Printer Setup window.
NOTE: For several Printer Types, such as Epson and Roland, the
resolution should not be set using the Across box. To set the
resolution for these printers, you must click the Setup button
to open the Printer Setup window for the printer. These print-
ers have preset resolutions in a pop-up menu in their Setup
window. The pop-up menu settings in the Setup window will
override any value entered in the Across box.
Margin Between Images

The Margin Between Images group allows you to specify how much
white space should be reserved around each image in a layout. There are
two edit boxes, In and Down, for specifying different amounts of space
to the left and right of an image and the remaining space above and be-
low an image. Margins are part of the calculation for positioning images
in the layout. As the margin increases, fewer images will fit in the layout.

Offset Image in Layout
You may enter offset values through the Offset Image in Layout group.
“Offset image” refers to a physical shift on the print media. The point
of origin is established as the top left corner. Therefore, positive values
will move all images in the current layout to the right and down, while
negative values will move all images in the current layout left and up.
Negative values can be entered to move part of the image off the media.
This is important for centering large images, moving tick marks out of
view, or eliminating built-in white space in the image.
Current Offsets is a temporary shift for the current job only. After enter-
ing these values, if you decide you would like to make them permanent,
simply click the Set button. The current offset values will be transferred
to the permanent offset values.
Permanent Offsets is a permanent shift for all jobs, today, tomorrow,

next week. If you want to enter values that are different than the Current
Offsets, simply enter them directly into the designated Permanent
Offsets boxes. To reset these values to zero (default), simply select the
Clear button.
TCP/IP tab
The TCP/IP tab in the Printer Options dialog is used to set an IP address
when printing over Ethernet.
TCP/IP Printer
The TCP/IP Printer group lets you enter an IP address for your printer, to
allow for Ethernet printing. The Test button will verify the IP number you
have entered. When you are finished entering a valid IP number, click OK
to save your IP address. The IP address will now appear in your Printer
Port pop-up menu as TCP/IP Printer.

Figure 4.8. The TCP/IP tab of the Printer Options dialog.
Cut Marks tab
The Cut Marks tab in the Printer Options dialog is used to turn cut marks
on or off, as well as specify the type of cut marks and their position.
Print Cut Marks

The Print cut marks checkbox determines whether or not cut marks are
printed around each image in the layout. When this box is selected,
ColorBurst creates marks to indicate the edge of the image, i.e. where
to trim the image. The rest of the options in the Cut Marks tab are only
available when this checkbox is selected.
Specify shape of marks

When the Print cut marks checkbox is selected, there are five different
cut mark shapes to choose from. Each type is visually represented by
a diagram to show what the marks will look like. To select a cut mark
shape, click on the diagram to highlight it. The appropriate options in the

Cut Marks tab will become available depending on which shape/diagram
is selected.
Figure 4.9. The Cut Marks tab of the Printer Options dialog.
For standard crop marks, select the first diagram, Cut Marks. This will
create an “L”–shaped mark, facing out from the image, in each corner of
the image. When used with tiling, the Cut mark will print at the overlap
mark so that when the tiles are cut they will line up with each other
without overlap.
The second option is Corner marks. This will print an “L”–shaped mark
on the corners of the image facing into the image. When Corner marks
are used with tiling, the marks print on the perimeter of the image, al-
lowing physical overlap when trimmed.
The third option is Circles. This setting will print circles in the corners as
cut marks instead of L–shaped marks. Circles should be selected when
using cutters requiring circular cut marks, such as the I–Cut. In addition,
you can use the settings in the Cut Devices tab to create I–Cut script files

(the Cut Devices tab is also in the Printer Options dialog). When Circles
is selected, make sure to set the Diameter of circle to 0.25" in the Enter
dimensions group when using the I–Cut.
The last two cut mark shapes create cut or corner marks as well as a
dashed or solid box drawn around each image. These shapes can be se-
lected when using an automatic cutting device, such as the Fotoba. The
two entry boxes below the diagrams, Black (on) size and White (off) size,
determine whether the line is solid or dashed. To draw a solid black box,
set the Black (on) size to 1 (or any number other than zero) and set the
White (off) size to zero (0). To draw a solid white box, set the Black (on)
size to zero and set the White (off) size to any number other than zero.
To draw a dashed line, give both boxes values other than zero. A value of
zero in both edit boxes indicates that no cut box will be drawn.
Enter Dimensions
The Enter dimensions group lets you enter the Width and Height of the
cut marks, if applicable. When Circles is chosen as the cut mark shape,
the dimensions settings change to Diameter of circle. The default value
for the cut mark Width and Height and for Diameter of circle is a quarter
of an inch (0.250i).
The thickness of cut marks can be changed in the Enter dimensions

group. Click on the Specify Thickness In Pixels button to choose a width
of 1, 2, 3, or 4 pixels. If you want a different measure, you may enter it
manually by selecting the Specify Thickness In Units of Measure button
and entering the value in the Units entry box. It can be helpful to have
wider marks when printing at high resolutions, where one pixel-wide
marks may not be visible.
Position marks
The Position marks group lets you add space between the marks and
the corners of the image. You can enter a positive number to add space
around the image, which is useful for pole wraps. The maximum space
allowed is 72" wide. A negative number will place the mark inside the
image, for trimming bleed.

Job Titles tab
The Job Titles tab in the Printer Options dialog is used to specify job
title options for individual images or entire layouts. A job title is printed
information describing an image (or layout) that is not intended to be
part of the final printed product. When titles are turned on, a gray bar
representing each title will appear in the Layout window.
Figure 4.10. The Job Titles tab of the Printer Options dialog.
Print Job Titles and Title Options

The Print job titles checkbox determines whether job titles are printed. If
selected, job titles are created and printed, and the rest of the options in
the Job Titles tab become available.
The file name (or layout name for layout titles) is always part of a job title
information. When layout titles are printed, the layout name is deter-
mined by the File Name Template in the Layout Options dialog. If no
other title options are selected, the name is the only information printed.

Selecting the Include full path of job name checkbox will enable the
inclusion of the full path used to open the file. If Include full path is not
selected, the file name without any path is included in the job title.
If you select the Include current time and date checkbox, the current
time, day of the week, and date will be included. The time and date are
determined at the time the title is created.
If you select the Include printer setup file name checkbox, the name of
the Printer Setup file will be included in the job title. The Printer Setup
file in effect is shown in the main menu bar after the Help menu.
The Include additional comment box allows you to add a comment

to the job title. Simply type your comment in the comment entry box
below. You may enter a maximum of 255 characters. Any comment
entered here will print in all image and layout job titles.
If you select the Uppercase checkbox, the entire title will print using up-
percase letters. Otherwise, all characters except the first letter of the day
and month name will be printed in lowercase letters.
Nested Layouts
The Nested Layouts group contains settings that determine the type
of job titles that are printed. There are three choices: print a layout title
only, print job titles only, or print both layout and job titles. Job titles
appear above each individual image; a layout title appears at the top of a
layout (above two or more nested images).
Space Reserved for Titles

The Space reserved for titles group allows you to set the size and spacing
for titles. When job titles are included, the height of the title is added
to the height of the image. This means that the job title affects vertical
positioning and the height of the block in the layout window. Horizontal
positioning is not affected by whether titles are included because, while
the title may have enough information to extend past the right edge of
the image, it is always clipped at the right edge. If the point size or spac-

ing values are adjusted, the Layout window will be updated to reflect the
changes after the Printer Options dialog is closed.
You may change the size of the title using the Point size of type in job
value entry box. The minimum size for titles is 4 points; the maximum
size is 144 points.
The Additional vertical space between job title and job entry box allows
you to adjust the amount of space between the title and job. This can
allow space to cut the title away from the image. You may add up to 4
inches of extra space between the title and job.
Cut Devices tab
The Cut Devices tab in the Printer Options dialog has settings that can
be used when you are using a printer with a built–in cutter or a cutting
device such as an I–Cut.
Contours
The Contours group is used to find contour cutting data in image files,
using spot color names to describe the contour. A contour is a vector
outline of the shape to be cut. Contour shapes can be created in any
program with vector illustration capabilities that allow you to specify
a custom spot color as the stroke color, such as Adobe Illustrator or
CorelDRAW. The contour shape should be an outline with no fill color
(stroke color only, transparent fill). The stroke color is not actually print-
ed, but it must be a named spot color—ColorBurst uses this spot color
name to find the contour data. You may name your spot color anything
you like, such as “contour” or “cut path”—it is only important that the
name in your file matches the name in ColorBurst’s contour list. The con-
tour names are not case–sensitive, i.e. “cut path” will match “Cut Path”
and “CUT PATH”. When a contour is found, the contour is cut on the
center of the stroke line, so you may set the contour path to any weight
or thickness in your vector illustration program.

Figure 4.11. The Cut Devices tab of the Printer Options dialog.
The Search Postscript files for named colors that describe contours
checkbox determines whether files should be searched for contour data.
If this checkbox is selected, the contour name pop-up menu becomes
active. Only names that appear in the pop-up menu will be searched for.
If your contour path stroke color is not a spot color named in the pop-up
menu, it will not be found.
You may add up to 20 contour spot color names. To add a contour spot
name, type the contour name in the Specify named colors that describe
contours box, then click the Add button. The name you entered will be
added to the pop-up menu. You may change a name by selecting it in
the list, typing in your changes, and clicking the Edit button. To remove
a name from the list, select the name in the pop-up menu and click the
Del button. Please note that changes to the list take effect immediate-
ly—if you click Cancel to close the Printer Options dialog, the names in
the contour name list will not revert back to the original list.

The Density group allows you to choose how the contour line is inter-
preted. You may choose from Coarse, Medium, or Fine. Fine is recom-
mended to give the smoothest contour.
I–Cut
The I–Cut group is used to create I–Cut scripts during printing. If the
Generate I–Cut scripts box is selected, a CUT file used by the I–Cut cut-
ter will be created in the path named in the Path for “CUT” files box.
You can use the Find button to locate a path to save CUT files in.
CUT files are given the same name as the layout with a .CUT extension
(layout names are determined by the File Name Template in the Layout
Options dialog). It is recommended to print layout titles (in the Job Titles
tab) when creating CUT files. This will make it easier for you to match
your prints with CUT files, since the layout title name and CUT file name
are the same.
The Include contour cut commands in I–Cut scripts box determines the
shape of the cut. If it is not selected, cuts are limited to rectangular
shapes. If it is selected, any contour data found during processing will
be included in the CUT file. If searching for contours is not turned on in
the Contours group (the Search PostScript files for named colors that
describe contours box is not selected), any contour data in the files will
be ignored, even if the Include contour cut commands in I–Cut scripts
box is selected. In other words, both boxes must be selected to include
contours in I–Cut scripts.
Grids tab
The Grids tab in the Printer Options dialog allows you to set up a uni-
form grid system for automatic image placement in the Layout.
Use Grids
The Use grids checkbox turns ColorBurst’s grid-based layout option on
and off. When the Use grids checkbox is selected, the other options in
the Grids tab become available. All of these settings work together to

determine grid size, grid placement, and image placement within the
grid boxes.
Figure 4.12. The Grids tab of the Printer Options dialog.
There are two image placement options when using grids. You can
either center images inside each grid box or align the image to the upper
left corner of each grid box.
Figure 4.13. The Layout window with Grids turned on.

Columns and rows
The Columns and rows settings are used to divide the layout window
into a grid. Type in the number of columns and rows, and type in a
width and height.
Margins
The Margins settings allow you to define margins around the grid and
between the grid boxes.
Scaling and cropping

There are three options available to handle images that are larger than
the grid box size. The first option is Crop image to fit. This option will
crop your image without scaling. The crop can be changed through the
Display window. The second option is Scale image to fit. The image will
be scaled proportionally to fit inside the grid box. The third option is
Do not add job to layout. When this option is selected, you will get an
“image does not fit” message when adding an image that does not fit
in the grid.
If the image is smaller than the grid window, you can scale it up to fit
the grid by selecting the checkbox. The pop-up menu can be set to
Best fit, which will scale the larger dimension to the size of the grid
box, or to Scale width and height anamorphically, which will scale the
image to the exact dimensions of the grid box.
NOTE: The Layout size, set in the Printer Options General tab, will
change to match the total dimensions of the grid boxes and
margins entered in the Grids tab.
Multipage Job Options

The Multipage Job Options dialog lets you specify how to handle files
that contain more than one page.
Place multiple pages of job in layout

When this option is checked, each page is placed in one layout. If the
layout is filled, new layouts will be created until all pages are placed in

a layout. The Layout window will display the first layout and thumb-
nails will appear at the bottom to indicate subsequent layouts. Click on
any thumbnail to view the layout, or scroll through layouts using the
arrow buttons.
Figure 4.14. The Multipage Job Options dialog.
The File Information box will indicate which page of the document
is currently selected. The first page of a layout is selected by default.
For example, when you open a document that has 5 pages, the File
Information box will read, “Page: 1 of 5.” You may select any page by
clicking on it in the Layout window. Note that when you scroll through
the layouts, the first page in the layout is selected.
Place each page of job in separate layout

This option tells ColorBurst to put each page in a multipage document in
its own layout. New layouts will be created for each page in the file. The
Layout window will display the first layout and thumbnails will appear
at the bottom to indicate subsequent layouts. Click on any thumbnail to
view the layout, or scroll through layouts using the arrow buttons.
Page Range
This group is active only when a multipage document is open. When
you change the page range, the layout(s) will be updated immediately.
You can change the page range as many times as you wish, including
excluding pages and then adding them into the range again. To delete
the entire file (all pages) click the Delete All button.

Layout Options
The next item in the Options menu is Layout Options, which opens the
Layout Options dialog. These settings will change the layout environ-
ment. Among other options, you can choose the best-fit formula to use
and specify the procedure to use on size discrepancy errors.
Direct to Printer
The Direct to printer checkbox allows you to specify whether layouts
containing more than one file should be sent directly to the printer
or whether intermediate RTL, TIFF, or CT files should be created. This
checkbox is ignored when a layout contains only a single file. This is
similar to choosing to create intermediate files from PostScript. There is
a major difference between PostScript files and layouts, however. With
PostScript files, there is no way to determine in advance how long the
interpretation will take. Intermediate files are recommended to eliminate
that variable. For layouts, all files included in the layout are in a raster
form before printing begins. It is recommended that Direct to printer be
selected so that intermediate files are not created.
Figure 4.15. The Layout Options dialog.
When Direct to printer is not selected, output for the layout uses the set-
tings established in the Postscript/Layout Output File Options dialog. For
example, turning off Direct to printer and setting Create Scitex CT file
and Save File Only, No Print in the Postscript/Layout Output File Options

dialog, will create a permanent CT file that is not immediately printed. If
job titles are in effect, they will be seen when the CT file is printed.
Delete All Intermediate Files

The Delete all intermediate files checkbox specifies that all PostScript
files that are rasterized before printing should be created as temporary
intermediate RTL files. When this checkbox is not set, options in the
Postscript/Layout Output File Options dialog determine how PostScript
files should be handled. This checkbox is only considered when there is
more than one file in the layout being printed. When a single PostScript
file is printed, the Postscript/Layout Output File Options dialog always
determines whether intermediate files are created and, if so, whether
they should be temporary or permanent.
This checkbox is very important when the Direct to printer checkbox

above it is not selected. In this case, output options for the layout are
determined from the Postscript/Layout Output File Options dialog. The
Delete all intermediate files checkbox allows you to specify different
procedures for processing the layout from processing the PostScript files
included in the layout.
The Delete all intermediate files checkbox overrides options set in the
Postscript/Layout Output File Options dialog. Even if you do not set this
checkbox, if Output directly to printer is selected in the Postscript/Layout
Output File Options dialog, temporary intermediate RTL files are created
from PostScript files. If Save File Only, No Print is selected, permanent
intermediate files are created, but printing of the layout is not inhibited.
Error if Image Too Big

Selecting the Error if image too big checkbox will make sure that any
image that will not fit in the image area is not added to the layout. The
error message “Image will not fit on media,” followed by the file name,
will appear, and the file will not be added to the layout.
This option is most helpful in Spooler mode when layouts are in effect. If
selected, any file found in the monitored queue that oversets the layout

will not be printed; instead it will be moved to the Error queue. This
ensures that none of your spooled images will be truncated.
If this box is not selected, files that are too large to fit in the image area
will be added to the layout if one of the following conditions is met:
• the image is the only image in layout,

• the image touches the left margin and oversets the width only, or
• the image touches the top margin and oversets the height only.
Use Precise Positioning of RTLs in Layout

This option is helpful when using Step & Repeat with RTL files. If it is not
selected, there may be some white space between the RTL files in the
layout. When selected, ColorBurst will pack the pixels next to each other
for perfect placement. In doing so, the layout will take a little longer to
begin printing, so it is recommended to only use this option when the
layout contains multiple RTL files and perfect placement is a concern.
Layout File Name Template

The File name template edit box in the Layout Options dialog allows you
to specify the name of an output file which will be created when more
than one image is processed into an output file. An example of a layout
output file is the RTL file that is created when Write to RTL File in the
Printer Options dialog is chosen. When you select a spooled printer as
your printer port, the spooled document name is built from this tem-
plate. The file name template is also used to name TIFFs and CTs from
layouts, layout Job Titles, and CUT files.
The File name template edit box here works along with the File name
template edit box in the PostScript/Layout Output File Options dialog.
When creating a file from a layout, the filename will be created from the
information in this template, and will then be appended by the informa-
tion in the PostScript/Layout Output File Options template.
Previous to the template, the output name was always LAYOUT. That
is, the RTL of a layout was always LAYOUT.RTL. To avoid constantly
overwriting the same file name, the name changed to a unique name,

LAYOUT.R00, LAYOUT.R01, etc. There were two problems with this file
name selection: the file names were not descriptive, and the R00, R01,
etc. files would not automatically show up in the list of illustration files
to process. The template now allows you to specify your own name of
layouts. If you choose not to specify a template, the old name, LAYOUT,
is still the default selection.
The template can be an exact name of the output file such as XYZ. The
problem with an exact name like this is that, like LAYOUT, all output
file names will be the same. Furthermore, unless the name is exactly
LAYOUT, extensions R00, R01, etc. will not be automatically created.
That means that each new output file will overwrite the old one.
To allow you to specify different names using the same template, you
can place one or more special codes in the template. Each special code
consists of a percent sign (%) followed by a character. Any character in
the template name which is not preceded by a percent sign is passed
along as part of the output name. Special codes are replaced by informa-
tion associated with the code. A common special code is %F which is
replaced by the name of the first file that was entered in the layout. For
example, suppose there are three images in a layout (ABC.EPS, DEF.TIF,
and GHI.CT, entered in that order). Using the template %F with no other
characters will create the output file named ABC. Using the template
CSE_%F_X creates the output name CSE_ABC_X. Likewise, %L chooses
the name of the last image that was added to the layout as its output
name. In the previous example, the output name would be CSE_GHI_X.
You can also have the output name include the time of day, the date,
and three unique numbers (000 through 999) to better describe the file
while also ensuring that one file does not overwrite the next.
Path names in the template are ignored. In most cases the output path
is that specified in Output Directory in the PostScript/Layout Output
File Options dialog. The template is searched for path separators (colon,
backslash, and forward slash), and, if found, all characters up to the last
separator are ignored.

An extension can be specified in the template, including names with
special codes in them. In most cases, however, the output file type has
a defined extension which will overwrite any extension that you specify.
For example, if the output file is to be an RTL and your template builds
the file name ABC.XXX, the name of the RTL file will become ABC.RTL.
One exception to this is the name of the document displayed when your
output file is sent to a spooled printer. That name has no predefined
extension, so any extension that you enter will be passed along as the
document name listed in the printer’s window.
If the File name template is left empty, the default template will be
LAYOUT. This is the name given to all output files prior to templates.
This is the only template name that will automatically create different
extensions to try to create unique file names. That is, RTL, R00, R01,
…, TIF, T00, T01, …, etc. will only be created when the template name
is LAYOUT.
Special codes begin with a percent sign (%) and are followed by a single
character. Letters are case independent, that is f and F are identical. All
defined special codes are replaced by other known information. Any
character that follows a percent sign but is not defined below is ignored.
Special codes are grouped into types below. An alphabetical list is in-
cluded after the types.
The following section lists special codes which are replaced by file names
or affect file names in order to try to make them unique.
Names
Output file names can include the names of images in the layout and
can be incremented automatically.
%F First name. This code is replaced by the first name

of the first image that was added to the layout. The
first name includes all characters up to a “dot” that
separates the file name from its extension.

%L Last name. This code is replaced by the first name
of the last image that was added to the layout. The
first name includes all characters up to a “dot” that
separates the file name from its extension.
%E End name at character. This code can be used more

than once to specify characters in the %F and %L
names where the output name should end. Each %E
should be followed by one and only one additional
character. If the character following %E is then found
in the file name, the name is ended at that charac-
ter, not including that character. If more than one
end code is desired, each should be included in the
template preceded by %E. If the character follow-
ing %E is a letter, that letter is case independent.
An example might be that you use long file names
with lots of spaces in the name. You could shorten
the output name by truncating the name at the first
space. Do this by specifying the special code %E
followed by a space character. Using this code, a file
named “Sunshine over L.A. on a smoggy day” would
create the output file named “Sunshine.” This code is
only useful if you use %F and/or %L in the template.
%U Increment up. This code tries to ensure unique

output names by replacing the special code with a
three digit number between 000 and 999. Each time
a number is used, it is automatically incremented. For
example, the template CSE_%U creates output files
named CSE_000, CSE_001, CSE_002, etc. The first
number to be used is the number set in the Auto-
increment starting number edit box in the Layout
Options dialog. The number returns to 000 after
incrementing past 999. You can set Auto-increment
starting number to any starting number.

Dates
Output file names can include the current date or parts of the date.
%D Date. This code is replaced by the current date in a

YYMMDD format. Example: cb%d on July 4, 1997
becomes cb970704. The order is chosen to ensure
that the last file created will be listed last alphabeti-
cally. You can place the date in a different order by
using the individual parts of the date listed below.
%A Date. This is replaced by a two digit code holding

the date of the month. The two digit code will be in
the range 01 to 31. Example: cb%a on July 4, 1997
becomes cb04. This will usually be combined with
other date special codes to build a date in the order
that you desire.
%M Month. This is replaced by a two digit code holding

the number of the current month. January = 01 and
December = 12. Example: cb%m%a on July 4, 1997
becomes cb0704.
%Y Year. This is replaced by the last two digits of the

year. Example: cb%m%a%y on July 4, 1997 be-
comes cb070497.
%W Day of the week. This is replaced by the first

two letters of the day of the week. Sunday =
su, Monday = mo, etc. Example: cb%w on a
Wednesday becomes cbwe.
Time
Output file names can include the current time, that is the time when
writing the output file begins.

%T Time. This is replaced by a six digit code holding the
current time as HHMMSS using a 24 hour clock.
Example: cb%t at 4:32:23 PM becomes cb163223.
%H Hour. This is replaced by a two digit code holding the

current hour using a 24 hour clock. The replacement
will be in the range 00 (midnight) to 23 (11 PM).
Example: cb%h at 5:21 PM becomes cb17.
%I Minutes. This is replaced by a two digit code holding

the minutes past the hour of the current time. All val-
ues will be between 00 and 59. Example: cb%h%i at
5:21 PM becomes cb1721.
%S Seconds. This is replaced by a two digit code hold-

ing the seconds past the minute of the current time.
All values will be between 00 and 59. Example:
cb%h%i%s at 5:21:34 PM becomes cb172134.
Miscellaneous
Other codes not fitting the types listed above.
%% (%). This specifies that the percent sign is needed

as part of the output file name. That is, the percent
sign starting a special code should be ignored and
the character following is needed. Example: xyz%%.
becomes xyz%.
Alphabetical list
All special codes are listed alphabetically:
%% Percent sign. Miscellaneous code.

%A Date of the month. Dates code.
%D Date. Dates code.
%E End name at character. File Names code.
%F First file. File Names code.
%H Hour. Time code.

%I Minutes. Time code.
%L Last file. File Names code.
%M Month. Dates code.
%S Seconds. Time code.
%T Time. Time code.
%U Auto-incrementing number. File Names code.
%W Day of the week. Dates code.
%Y Year. Dates code.
Auto-Position Options
The Auto-Position Options group allows you to select the best-fit for-
mula to use when positioning images in a layout. The Refit button allows
you to refit all images according to one of the best-fit formulas without
establishing that formula permanently.
There are three best-fit formulas to choose from. Only one can be cho-
sen at a time. They are:
• Order Entered
• Largest First
• Smallest First
Each formula is further defined by whether images should be placed

using a top-to-bottom or bottom-to-top arrangement. Select one of the
following:
• Top To Bottom
• Bottom To Top
Images are placed in the smallest unused area in the layout where they
will fit. As long as there is space, images are placed to the right of previ-
ous images. When there is no more space to the right, new images are
positioned below previous images when using a top-to-bottom arrange-
ment, and above previous images using a bottom-to-top arrangement.
Even though the bottom-to-top arrangement places images at the bot-
tom of the media, once all images have been positioned, they are shifted

to the top of the layout. That is, unless you set a vertical offset, images
will start from the top of the layout.
If an image does not fit in the layout, it is not added to the layout. Be
aware, however, that even though it is not shown in the layout, that im-
age is still the currently selected file. From the File menu, you can Display
the image that does not fit, but if you Print the layout, the image will not
be included. Depending on the formula used, an image that does not
fit is not necessarily the image that you are adding to the layout. Later
in this section, see the explanation of the Largest First formula for more
information.
The default formula is Order Entered because it has no “side effects.”

Once an image is positioned, it is not repositioned unless you choose to
refit all images or a general “Refit” command is issued. “Refit” com-
mands are issued when you turn job titles on or off, or when you change
the layout area while a layout is in effect. If you want to manually
position image with the mouse, you should use this selection. The only
image that may not fit in the layout is the image that you are currently
adding to the layout.
The Largest First formula usually provides the best fit. When you add
an image to the layout, every image is ordered from largest to smallest
(largest means the largest area, i.e. width times height). The layout is
cleared and each image, largest to smallest, is re-added. This does have
some side effects that you may find unpleasant. Be aware that an image
that does not fit in the layout is not necessarily the most recently-added
image. An error message informs you of the name of the file that will
not fit. If you select Cancel, the layout will return to its previous positions
and the current image will not be added to the layout. More than one
previous image may not fit when an image is added. Each image that
does not fit will produce an error message. You can Cancel at any time
to restore previous positions, but be aware that once you have accepted
an image for deletion, it will not be restored by a later cancellation. That
is, if you select OK for the first image to be deleted but then Cancel the
second, the first image will be lost and a “hole” appears where it used
to be. Another side effect is that because all images are repositioned

from scratch, any manual repositioning that you might have made with
the mouse is lost each time a new file is added.
The Smallest First formula is exactly like Largest First, but in reverse. All
illustrations are ordered from smallest to largest. This has the same side
effects as Largest First.
Refit Button
The Refit button repositions all image in the layout according to the best-
fit formula currently defined in the Auto-Position Options group. The
formula selected is not necessarily the current formula, however. Until
you save your selections, the current best-fit formula does not change.
You can use the Refit button to see how other formulas affect the layout
without making that formula permanent.
On Size Discrepancy
The On Size Discrepancy pop-up menu determines how size discrepancy
errors will be handled. First, a definition of “size discrepancy” errors.
When a TIFF, CT, or other raster format is added to the layout, its size is
absolutely known. When a PostScript file is added, however, the size is
calculated from information in its header. This may be incorrect because
PostScript commands may force different sizes. Examples are commands
that select a particular paper size and commands that set up a different
orientation. The only way for ColorBurst to know that actual size would
be to send it to the PostScript interpreter. When adding an image to the
layout, that would be too time-consuming.
If a layout contains more than one image, its PostScript files are raster-
ized into intermediate files before printing. The actual size of the inter-
mediate file is compared to the size calculated from the header. If the
actual size is larger than the calculated size by the values in the Margin
Between Images group, the image might potentially overlap another
illustration in the layout. This is called a “Size discrepancy error,” and the
procedure for handling the error is defined in On Size Discrepancy. The
five defined procedures are:

1. Refit images/Delete
2. Refit/No Delete
3. Delete image
4. Stop print
5. Do nothing
First, the message, “Size discrepancy error!” is added to the message

window. Then the image causing the error is checked to see if it really
overlaps another image. If it does not, the message, “No Action taken”
is added to the message window and processing continues.
If the size discrepancy does cause an overlap, one of the five procedures
will be executed. The default action is Refit images/Delete. This issues
a general refit command to reposition all images. If the refit success-
fully repositions all images, the message “No Action taken” is added to
the message window. If any image in the layout does not fit, the image
causing the error is deleted from the layout, and all other images are
repositioned again. The message is “Deleting image from layout.”
If Refit/No Delete is the defined action, a general refit command is

issued, but if an image does not fit, no action is taken. Any overlap is
printed. The message is “No action taken.”
If Delete image is the defined action, the image causing the error is auto-
matically deleted without refitting, leaving a hole where the image was
supposed to be. The message is “Deleting image from layout.”
If Stop print is the defined action, printing never begins and processing
is stopped. The message is “Stop print on size discrepancy.” This has
the same effect as if printing completed its task. The layout window is
closed.
If Do nothing is selected, any overlap is allowed to print. Images are not

repositioned. The message is “No action taken.”

You will probably be able to predict size discrepancy errors according to
the software package that created the PostScript file. There are ways of
eliminating size discrepancy errors:
• leave extra room in the layout,

• print only one illustration,
• select Convert from the File menu.
When all entries in the Layout Options dialog are complete, select the
Save button or press <Enter>. Selecting the Cancel button or pressing
<Esc> will cancel all entries you made. Selecting the Help button will
open ColorBurst’s Help file on the Layout Options dialog.
Postscript/Layout Output
The next Options item is Output Options. Selecting it will display the
Postscript/Layout Output File Options dialog. These selections are used
to establish defaults for other commands, such as Print.
Figure 4.16. The PostScript/Layout Output File Options dialog.
Output Options
The Output Options group allows you to create an RTL, TIFF or Scitex CT
with the Print command (under the File menu). The first option is to have
the PostScript RIP bitmap Output directly to printer, in which case the

Save/Print Options are not applicable. The other options use the Save/
Print Options to determine output.
Save/Print Options
When printing a file that is processed by the PostScript interpreter
(PostScript files or any image that is scaled, rotated, etc.), you can print
directly from the bitmap created by the RIP. This can be accomplished
by creating an intermediate RTL file so that the printer is never waiting
on the RIP.
The intermediate files can be saved for future use by selecting either the
Save File and Print or Save File Only, No Print options. If you want the
intermediate file automatically deleted following printing, select the Print
Only, No Save File option. Output directly to Printer will save time if you
do not need to create intermediate files.
Intermediate files for layouts, as opposed to single files, can also be cre-
ated. All of the options in this dialog take effect for layouts whenever the
Direct to printer checkbox is not selected in the Layout Options dialog.
RTL files are created by default. An RTL file is smaller than its equivalent
TIFF, at least 8 times smaller and often, especially in drawn images that
can be compressed, much smaller than that. Furthermore, TIFF and CT
files still need more processing during printing. RTL files are completely
ready for printing and should stay well ahead of the printer. RTL files may
take longer to create in the first place, but will be faster once printing
begins. Anyone printing to more than one printer simultaneously should
consider creating intermediate RTL files instead of TIFF or CT files.
Output Directory
The Output Directory is where the intermediate file is created, if a “Save
File” option is selected. This entry is by default the subdirectory TEMP of
the directory specified for ColorBurst installation. This directory is also
used as the output queue in Spooling (if not otherwise specified in the
Spooler dialog).

Temporary Directory
Each time a layout is processed, ColorBurst creates temporary files. All
files in a layout are ripped and saved as temporary files. After all files are
processed, the temporary files are then assembled into a layout again
and printed (or saved as one final file, depending on your output op-
tions). The temporary files are then deleted.
The Temporary Directory entry determines where ColorBurst saves the

temporary files. The default path is the TEMP folder in the ColorBurst
installation folder. It is recommended that the directory be a local folder,
rather than on a server, so that the RIP time is faster.
File Name Template

This File name template edit box allows you to specify the name of an
output file which will be created when only one image is processed
into an output file. When there are two or more files in a layout, the
File name template in the Layout Options dialog is used first, and then
appended by the information in the File Name Template here. The File
Name Template is described in detail earlier in this chapter, under Layout
Options.
%P A special code, %P, has been added for use with

this File Name Template (not the File Name Template
in the Layout Options dialog). %P can be used for
multipage documents, and will add the page number
to the file name.
TIFF Byte Order

The TIFF byte order radio buttons allow you to choose between Intel
and Motorola byte ordering when writing a TIFF file to disk. The TIFF file
format begins with flags indicating whether the file uses Intel (low-high)
or Motorola (high-low) byte ordering when specifying values larger
than 8 bits. Although most software that reads TIFF format, including
ColorBurst, can handle either byte order, some can only handle one
type. This button allows you to specify the byte order used to write TIFFs
so that ColorBurst TIFF files can be universally understood.

Use PostScript Resolution in TIFF/CT Header
When a TIFF or CT file is created from either a PostScript file or a layout
of multiple files, the resolution (lines per inch or lines per millimeter)
placed in the file header is normally the resolution of the intended print-
er. When the Use PostScript resolution in TIFF/CT header box is checked,
the resolution is set to the resolution that is specified in the Resolution
edit box in the PostScript Interpreter Options dialog. This setting can be
used when the TIFF or CT is intended for a device like a high resolution
film recorder which supports, and scales to, any resolution. Only layouts
and files running through the PostScript interpreter, including scaled
TIFFs and CTs, are affected.
Single Strip TIFF

TIFF images can be made up of a series of strips, or bands, to al-
low smaller memory allocations when reading a TIFF image. When
ColorBurst writes a TIFF file, it usually sets up strips to be the size of a
band that is created by the PostScript interpreter. It has been found that
some software packages do not read TIFFs that contain multiple strips.
Selecting this checkbox forces the TIFF to be written as a single strip so
such software can process TIFF files from ColorBurst.
Prompt for Output File Name

The final entry in this dialog is the Prompt for output file name check-
box. If this entry is not checked, then the file is saved with the current
file name and an RTL extension. If checked, each file can be specifically
named. As the file is about to be created, a Save As dialog will appear to
let you name the output file.
When all entries in the Postscript/Layout Output File Options dialog are
complete, select the Save button or press <Enter>. Selecting the Cancel
button or pressing <Esc> will cancel all entries you made since opening
the dialog. Selecting the Help button will open ColorBurst’s Help for the
Postscript/Layout Output File Options dialog.

PostScript Options
The next item in the Options menu is PostScript Options. Selecting this
will display the PostScript Interpreter Options dialog. The entries in this
dialog setup the parameters for the JAWS PostScript Interpreter that is
included with ColorBurst.
Figure 4.17. The PostScript Interpreter Options dialog.
Resolution and Scaling

The Output Resolution for the RIP can be set to any value in Resolution
Units of either dots per inch (dpi) or millimeters (mm).
One way scaling can be accomplished is by modifying the Output

Resolution. Some large format inkjet printers print at a fixed resolution of
300 dpi. For example, to double the size of the image, you could change
the Output Resolution to 600 dpi (twice the original size). To scale the
image to 11⁄2 times its original size, the resolution value would be 450
dpi. Changing the Output Resolution will scale all images in the layout.
If you want to scale an images individually, set the Output Resolution to
300 dpi and scale the images through the Scaling & Rotation dialog.
If the unit of measure selected in the Printer Options dialog is Pixels, the
resolution entered here will be used to convert pixels to/from absolute
units of measure, such as printers point or inches. Job titles appearing
above each printed image are rasterized using this resolution regardless
of the resolution of the illustration that it describes.

Memory Limits
Memory Limits specifies how much memory will be allocated to the RIP
for processing. It takes that memory when it is first initialized (the first
time a PostScript file is interpreted) and does not return it until you exit
ColorBurst.
The Total Allocation value refers to the amount of random access

memory, or RAM, given to JAWS for interpreting the PostScript file.
NOTE: Try to ensure that the memory allocated is only real memory
rather than virtual memory, because virtual memory will
include disk space. If virtual memory is used, the time needed
to access the disk can seriously impact the performance of
the interpreter. Therefore reducing the Total Allocation (to
eliminate virtual memory) can actually enhance performance.
To test this scenario, turn off virtual memory. If the PostScript
Interpreter can not run with that setting, reduce the Total
Allocation.
The PostScript VM value is a portion of the Total Allocation described

above. This is the portion of memory where the actual interpretation
occurs. This memory is used by the interpreter internally for creating
the displays and reading lists from the source file. The recommended
value is 3 MB.
NOTE: Fonts take up a lot of VM memory. If many fonts are called

in a job, you may need to increase VM. If you get a “font not
found” error which seems incorrect, it may be that the font
could not fit in VM. Increase VM size and try again.
The Initial Buffer Size entry is where you specify the size that the pro-
gram reserves for the initial buffer. The value you enter in the box will
be interpreted as thousands of bytes or “Kb.” The minimum size of the
initial buffer is 32Kb, but more than that will usually result in better per-
formance. The default size is 16000Kb.

As a file is about to be printed or displayed, the initial buffer is divided
into smaller chunks used for specific purposes, according to the type of
file that is being read. Whatever is left over is used for reading the file. If
the initial buffer is not large enough to handle the demand, the follow-
ing error message will be displayed: “Initial buffer too small. Increase size
and restart.” Because the initial buffer is allocated when the program
begins, changes to its size can only be accomplished by setting the new
size, exiting, and restarting the program.
Output Format
The Output Format group allows you to specify whether a PostScript file
should be rasterized using CMYK (cyan, magenta, yellow, black) or RGB
(red, green, blue) colors or 256 shades of gray. Furthermore, you can
Antialias the output using either color model. Antialiasing is explained in
more detail below.
Click either the CMYK, RGB, or BxW radio button to select the color
model. RGB refers to color. CMYK refers to the inks used to reproduce
the colors. BxW refers to grayscale. CMYK is the default, and is most
commonly used. Select RGB if you are outputting to an RGB file.‑If you
select BxW when processing color files, an 8-bit file is created/printed.
Printing, of course, uses CMYK inks so RGB colors are converted before
printing. Any conversion of RGB to CMYK uses the setup that you define
in the RGB to CMYK dialog, or by the profiles in the ICC Profile Options
dialog. This should allow you better control than letting the PostScript
RIP convert an RGB image to CMYK for you. The default RGB to CMYK
conversion used by a PostScript interpreter is to convert 100% of the
neutral gray of the RGB colors to black, and remove 100% of the gener-
ated black from the CMY colors.
Antialiasing is a method by which sharp color transitions (also known as

jaggies) are “smoothed.” Antialiasing is especially useful in smoothing
the staircasing effect in large text characters by blending gray into the
black to white transitions. Be aware, however, that antialiasing involves a
considerable performance penalty!

You turn on antialiasing by clicking the Antialias checkbox. You must
then specify the number of samples and the formula to use for antialias-
ing. The number you enter in the Samples edit box sets the internal reso-
lution of the PostScript RIP. Using four samples at 300 dpi, for examples,
actually rasterizes the images at 1200 dpi. Before outputting the raster
image, however, the extra data is “res’d down” to 300 dpi. The Box and
Pyramid radio buttons select the formula chosen to convert from the
high resolution image back to the resolution of choice. The Box formula
(sometimes referred to as “unweighted”) is considerably faster, often
about 4 times faster, than the Pyramid (or “weighted”) formula, but
Pyramid gives better quality. Note that at sufficiently high resolutions,
“jaggies” are not nearly as problematic as at low resolutions. The Box
formula may be a very good compromise between speed and quality.
When a “band” (a memory buffer about the size of Total Allocation

minus PostScript VM) of raster information is ready, the appropriate
antialias formula converts the entire band back to the resolution needed
for output. An obvious effect of antialiasing is to notice very long pauses
at regular intervals. The more Samples that you choose, the fewer the
lines per band, so pauses come more frequently. Be aware that if at any
time your RIP seems to be running much more slowly than you think it
should, you may have antialiasing turned on inadvertently. Antialiasing is
never in effect when you display an image on the screen.
Rotation
The Rotation box allows you to rotate all PostScript images in a layout
90°, 180°, or 270° from each image’s original orientation. The T shape
in the 4 boxes indicates the top of the image. By default, the upper left
symbol will be highlighted, which means the image has not been rotated
from its original orientation. You may rotate all types of images individu-
ally through the Scaling & Rotation dialog.
OverPrint Colors
The OverPrint Colors group allows color to “overprint,” or combine, as
opposed to “knock out” colors below it. The CMYK checkbox is sepa-
rate from the two black overprint boxes. Overprinting can be very helpful
for showing trapping and other effects, but it can also change the look

of the images, especially those that are intended for Level 1 PostScript
interpreters. The file OVERPRT.EPS, included with ColorBurst in the
TESTFILE directory, shows how CMYK overprint works. Display this file
on the screen with CMYK overprint on and off and notice the difference.
Selecting CMYK overprint tells the PostScript interpreter to honor over-

print commands in the job. CMYK overprint only works when CMYK is
set in the Output Format group—RGB and BxW ignore overprinting.
Black overprinting is different than CMYK overprinting. It might only be

noticed in the printed output. When black, especially text, is placed over
other colors, it normally knocks out the colors below it, which may result
in a white halo around the black. By turning on black overprint, the black
is combined with the colors below it and the white halo disappears.
Some black inks, when combined with other inks, may change hue. If
this is the case, overprinting may be undesirable. You can specify black
overprint for all generated black by selecting Black (Text&Graphics).
Setting Black (Text Only) turns on black overprint for text but not for
other black in the page, such as rules. Setting either turns the other off
automatically.
Advanced PostScript Options

The Advanced button at the bottom of the PostScript Interpreter Options
dialog opens the Advanced PostScript Options dialog. The information in
this box is used by the PostScript interpreter, and usually does not need
changed. If the information here is not correct, the PostScript interpreter
will fail.
Initialization File
The file named in the Initialization File entry is needed by the JAWS RIP
to set up its environment. The file should have been delivered on the
installation diskette(s), and the name should have been entered during
installation. This file is for internal use. It must exist and should not be
changed except when specifically instructed. The initialization file calls
many other setup files, also delivered on the installation diskette(s). If the
initialization file or other files it calls are not found, the following error
message results: “Error occurred before errordict set up. Check your init

files.” The initialization file is normally named INIT.PS and is placed in the
LIB subdirectory under the directory you named during installation.
Figure 4.18. The Advanced PostScript Options dialog.
Temporary File
The Temporary File entry names a file that the JAWS RIP needs for stor-
ing internal information while it is interpreting and rasterizing PostScript
files. The temporary file is used anytime JAWS needs more memory than
is available to it in the Total Allocation buffer.
The Temporary File usually includes the full path of the temporary file.
The path must exist. If the file cannot be created, you will receive the
error message: “Temporary file for PostScript Interpreter cannot be cre-
ated!” The temporary file entry is usually filled during installation. The
default name is JAWS.BND in the subdirectory TEMP of the directory
specified for ColorBurst installation.
JAWS Search Directories

The directories named under the JAWS Search Directories group gener-
ally contain PostScript (.PS) files needed by the JAWS RIP. Files in these
directory paths should not be altered except when specifically instructed.
The entry boxes are usually filled during installation. The default name of
the Lib Directory is LIB and the default name of the Resource Directory is
RESOURCE. Both directories and further subdirectories are created under
the directory that you name during installation.

Currently, the OS Directory edit box, intended for specific operating sys-
tem setup, is not used. Its default name is the directory you name during
installation.
The Widen image to pixel boundary checkbox is on by default. This

checkbox should be left on to avoid roundoff errors when scaling and
tiling images at high percentages.
The Spill large images to disk checkbox is also on by default. This checkbox
allows newer PDF formats to buffer to disk as required during processing.
Leave this checkbox on to avoid errors when processing PDF files.
NOTE: If the PostScript interpreter has already been initialized, the

following message will result: “Restart ColorBurst to have
changes take effect.” All changes except Resolution will not
take effect until ColorBurst has been re-launched. Resolution
changes will take effect with the next job.
ICC Profile Options

Kodak Digital Sciences’ ICC Engine, referred to as KCMS, is integrated
into ColorBurst. KCMS is an industry-accepted color correction system
which can enhance the current color correction within ColorBurst or
completely replace it. KCMS works from pre-built ICC Profiles, allowing
you to print CMYK, RGB, and grayscale files, with both vector graphics
and photographic images, in the same layout and get good output for
each type of image. You can choose different profiles for different types
of output, such as RGB, CMYK, or Hexachrome.
KCMS is embedded in the ColorBurst RIP. Any job running through the
PostScript interpreter has its colors corrected while being interpreted.
When a file is printed that does not go through the PostScript interpret-
er, ColorBurst uses the KCMS ICC Profiles to correct the image on a pixel
by pixel basis.
The ICC Profile Options dialog allows you to set ICC Profile options.
Profiles can be turned on or off without restarting ColorBurst to have

changes take effect. In addition, you may inhibit specific ICC Profiles by
using the On/Off buttons. The dialog is separated into tabs; it opens in
the Input Profiles tab.
General tab
The General tab in the ICC Profile Options dialog gives you control over
which color management tools to use in ColorBurst.
Figure 4.19. The General tab of the ICC Profile Options dialog.
Enable ICC profile color management

The ICC Profile Options dialog allows you to turn ICC Profile correction
on and off. When you turn off ICC Profiles, normal ColorBurst correction
is used automatically, and all ICC options are disabled. If ICC Profiles are
enabled, the image is corrected by the ICC profiles first, then corrected
by ColorBurst.

Print lin target
The Print lin target option is used only when printing a lin target for
relinearization—lin targets should always be printed with ICC turned
off. This checkbox eliminates the need to turn ICC back on after print-
ing your lin target.
Cancel print if output profile is missing or in error

When this option is selected and the output profile can not be found or
is incorrect, the Print command will be canceled. This allows you to save
media if the output profile is not found.
Create color corrected TIFF/CT

Select the Create color corrected TIFF/CT option to force ICC color cor-
rection when any file is converted to a TIFF or CT output file through the
PostScript interpreter. Header information will inhibit ICC profile correc-
tion on files if they are subsequently printed by ColorBurst. If you convert
an ICC profile-corrected file to a different file type, the new file will also
be noted as color corrected.
Use embedded profiles

The Use Embedded Profiles checkbox is available for users that embed
profiles in their images using programs such as Photoshop. When this
box is checked and an image file contains a profile, the input profiles in
ColorBurst are ignored and the embedded profile is used as an input
profile instead. If this checkbox is not selected, any embedded profiles
are ignored.
Enable AutoSpot for optimized PANTONE® colors

When this option is selected, ColorBurst will automatically find any
PANTONE spot colors during file processing. AutoSpot’s color optimiza-
tion allows for greater accuracy of PANTONE colors.
Convert PANTONE® colors to process before color correction

When this option is selected, ColorBurst will automatically find any
PANTONE spot colors during file processing and convert them to CMYK
process before color correction takes place. This can be used as a work-
around for files that contain a PANTONE colored vector graphic that

overlaps a transparent object, drop shadow, or other bitmapped object.
The vector and bitmapped objects will print correctly but the PANTONE
spot color matching will be compromised.
Include media tint as background

The Include media tint as background option is used only when Absolute
Colorimetric is selected as your input profile rendering intent. When this
checkbox is selected, the input profile’s “paper white” will be preserved.
This white value is often a slight tint and will be printed as the back-
ground color. If this checkbox is off, the Absolute Colorimetric white
value will be forced to white (C=0%, M=0%, Y=0%, K=0%).
Grey vectors and images

These options control how black and white images print. When black
and white images are corrected using ICC profiles, small amounts of
cyan, magenta and/or yellow ink are often added to black to neutralize
the printer's black ink. To print black and white images using black ink
only, select the Inhibit ICC Correction checkbox.
If Inhibit ICC Correction is not selected, ColorBurst will use the Grey
vector and Grey image Input Profiles (in the Input Profiles tab) to process
black and white images using all inks.
When the Grey Input Profiles are not available (i.e. not specified in Input
Profiles or not found), there are three options for handling black and
white images. You can either convert the image to RGB and use the RGB
input profile, convert the image to CMYK and use the CMYK profile, or
inhibit ICC correction and print the image using black ink only.
Enable ColorTrack
ColorTrack is a method by which ColorBurst eliminates the speckled look
of pure colors that is typical of color profiling software correction. For
example, in a light green tint, profiles will often add small amounts of
magenta and even black. These magenta and black dots give the tint an
undesirable grainy or speckled look. ColorTrack recognizes green as a
pure color and eliminates the additional magenta and black dots that the

profile adds. This usually has no effect on scanned images where pure
colors are unusual, only drawn images such as tints and blends.
When you select Enable ColorTrack, the other options in this group
become active. You may set the individual ColorTrack thresholds for
each ink color (Cyan, Magenta, Yellow, and Black ink). Setting a Cyan
threshold of 10%, for example, will remove all cyan speckling from any
area with up to a 10% cyan dot value (0% is white, 100% is the color
at full strength). The threshold is subtractive, meaning that the threshold
amount is subtracted from the ink value—if the threshold is 10%, then
an 11% dot would print as 1%, a 12% dot would print as 2%, etc.
NOTE: Yellow has no visible dot and mixes with other inks to change
the hue, so it is strongly recommended that the Yellow
threshold is set to 0%.
You may also choose to use ColorTrack only when specific pure col-
ors are being printed (Cyan, Magenta, Yellow, Red, Green, or Blue).
Sometimes the speckles change the hue in a subtle way and it is not
desirable to remove them. For example, this option allows you to decide
to allow speckles to appear in a red tint, but not in a pure yellow tint.
Input Profiles tab
The Input Profiles in effect are specified in the Input Profiles tab. You
may specify any or all of them—ColorBurst will use only the ones
needed for each print job.
There are six different Input profiles listed in the Input Profiles tab. There
are separate profiles for CMYK, RGB, and Grayscale data, in both vector
graphic and photographic (image) formats.
To set a profile, use the On/Off button to activate it. When disabled, the
name of the profile and its Find button will be grayed so that keystrokes
and mouse clicks are ignored.

The Find button allows you to browse for the proper profile. Each profile
name entered is checked to see if it is a proper profile, and if it has the
correct options for the entry you chose. That is, a profile for CMYK data
will be improper if entered as an RGB profile name. If a profile is not
found or improper, the previous name in that field will be re-established.
A description of the profile will be displayed under the profile filename.
Figure 4.20. The Input Profiles tab of the ICC Profile Options dialog.
The Rendering Intent pop-up menu is used to define how the profile
will remap the input colorspace to the output colorspace. Perceptual
rendering will remap the input data evenly in the output data space.
Colorimetric rendering will remap all out-of-gamut data to the closest
possible value in the output colorspace, and all other data will remain the
same. Saturation rendering tries to retain the same level of saturation as
the original data, but at the expense of color hue. Absolute Colorimetric
rendering is similar to Colorimetric, but uses an absolute white point as a
reference. In general, use Perceptual rendering for photographic images
and Colorimetric for vector graphics.

Output Profiles tab
The Output Profiles are set in the same manner as the Input profiles.
Figure 4.21. The Output Profiles tab of the ICC Profile Options dialog.
Choose a Profile to manage and activate it with the On/Off button. Use
the Find button to find the profile you want to use. The file is checked to
make sure it is valid, and the description will appear below the filename.
You may set profiles for output to a CMYK printer, an RGB printer, such
as a film recorder, a Hexachrome printer (CMYK plus orange and green
ink), and to the display monitor. Any of these can be disabled using the
On/Off button.
The Stand-alone output profiles group lets you assign a rendering intent
for input that is not included in the Input Profiles tab. This is helpful
when processing L*a*b* files—L*a*b* files do not go through an input
profile, so the rendering intent can be set here. The rendering intent is
used the same way as described above in the Input Profiles tab.

Simulation Profiles tab
Simulation, or proofing, profiles are used to simulate output to one type

of printer on another type of printer. For example, you can simulate the
output of a Mimaki printer on an Epson. The simulation is extremely
accurate, as long as the output device has a larger ink color gamut than
the simulation device. If you simulate a printer with a wider color gamut
on a printer with a smaller gamut, some color clipping will occur.
Figure 4.22. The Simulation Profiles tab of the ICC Profile Options dialog.
The Simulate output to another printer button activates the Profile name
entry box. The Simulation Profile is set in the same manner as the Input
and Output profiles. Use the Find button to find the profile you want to
use. The file is checked to make sure it is valid, and the description will
appear below the filename. The profile can be disabled using the On/Off
button. The Rendering Intent is used to remap the color from one type
of printer to another; see Input Profiles (above) for a description of each
rendering intent.

The Use L*a*b* to L*a*b* profile for device matching checkbox allows
you to use L*a*b* to L*a*b* profiles for simulation. L*a*b* is absolute
color. When using this simulation, the total raw L*a*b* input data is re-
stricted to the L*a*b* color space of the device. Input data goes through
the L*a*b* simulation profile and then out to the Output device profile.
This is useful for devices that you cannot make an ICC profile for. It also
allows you to stay in L*a*b* color, which is device-independent color.
Default Paths tab
The Default paths tab allows you to specify the default paths for Input
and Output profiles. Use the Find button to select a folder for the
default paths.
Figure 4.23. The Default Paths tab of the ICC Profile Options dialog.
The Copy button is used to eliminate paths in the profile names in the
Input and Output Profile entry boxes. If any profiles are not located

in the default path, clicking the Copy button will copy the profile to
the default path folder. This allows you to keep all of your profile files
together. It is recommended that your default paths are local, rather
than on a server.
When all entries in the ICC Profile Options dialog are complete, select
the Save button to keep them or select the Cancel button to restore the
values to their previous settings. You may access ColorBurst’s Help files
about the ICC Profile Options dialog by selecting the Help button.
Color Adjustments
The entries and modifications made in the Color Adjustments dialog
control settings such as the screening, brightness, and ink density.
Ink Limits tab
The Ink Limits tab in the Color Adjustment Options dialog gives you ac-
cess to the Ink Limits, Sharpness, and Extra TIFF Channel controls.
Ink Limits
The Ink Limits group works with the Ink Limit test file (“Media Ink Limit.
eps”, located in the Testfile folder) to control the maximum amount of
ink printed and avoid prints that are too wet. To determine the ink limit,
print “Media Ink Limit.eps” and look for the last dry patch for all col-
ors. On glossy media, the wet patches may show ink running, while on
matte media the paper may buckle. Another sign that the patch is too
wet is rounded edges; on an acceptable patch the corners will be sharply
defined. The number above the last dry patches (percentage of ink) is
the number that is entered in the Total ink limit box. When the Enable
Ink Limiting box is selected and a number less than 400 is entered in the
box, the total amount of ink printed will be reduced to the percentage
entered.

Figure 4.24. The Ink limits tab of the Color Adjustments dialog.
The Black limit box works with Enable Ink Limiting; if Enable Ink Limiting
is selected, Black limit becomes available. Selecting this box will keep
black at the percentage entered when ink is limited using Enable Ink
Limiting. For example, when Ink Limiting is not used or it is set to 400%,
each ink is allowed to print at 100%. If Ink Limiting is set to 200%, each
ink is limited to 50%. When each color is limited to 50%, it is difficult
to get a rich black. If the Black limit percent is set to 80%, the other
inks will be held back to 40% and black will print at 80%, producing a
deeper black. The default (and minimum recommended) setting is 80%;
a setting of 100% can create banding problems when printed.
Sharpness
The Sharpness factor will add electronic noise to vector blends, such
as gradients created in Adobe Illustrator. The added noise will create a
smoother blend and reduce the appearance of any banding that occurs.
The Sharpness factor can be set to any value from 0 (no noise) to 50.
The recommended range is from 1 to 6.

Extra TIFF channels
When alpha channels and spot channels are added to TIFF files in
Photoshop or other imaging programs, the data in the channel is consid-
ered “negative” if the color indicates masked areas. Positive channels are
created with color indicating selected areas.
By default, ColorBurst expects the channel data to be in “negative”

format (masked areas are colored), which needs to be inverted to print
properly. If you designed your alpha or spot channels in “positive”
format (selected areas are colored), select the Change polarity of extra
channels to positive checkbox to pass the data through as you see it on
the screen in Photoshop.
Adjustments tab
The Color Adjustment Options dialog opens in the Adjustments tab. This
is where the majority of the color settings are made.
Figure 4.25. The Adjustments tab of the Color Adjustments dialog.

Screening (Finish)
Color data that is sent to a large format inkjet printer has to be patterned
in some manner to give acceptable print quality. The three main formulas
for patterning an image are dithering, error diffusion, and halftoning.
Dithering is by far the fastest method, but its quality is lacking. There
are many formulas for error diffusion, but the higher the quality of the
image, the more calculations and thus the slower the print. Halftoning
simulates output from a printing press. ColorBurst allows you to match
your quality and speed requirements by selecting one of five screening
formulas in the Patterned Finish group box. The five formulas are High
Quality, Draft, Smooth Blends, Fast Images, and Halftoning.
When image quality is of utmost importance, select High Quality. This

screening formula provides the finest print of all of the screening op-
tions, but is also the slowest.
NOTE: When High Quality is selected and the print resolution is

at 720 dpi, it is required to set the gamma to 1.0 in the Ink
Limits tab (in the High Quality Screening group).
The fastest pattern is Draft. It uses a dithering pattern with no error

diffusion.
Smooth Blends and Fast Images are very high quality error diffusion
patterns. Both eliminate any pattern in the output and give very simi-
lar printed results. Smooth Blends should only be used when printing
blends (gradients) from vector data, because this option is slower than
Fast Images. An alternative way to print vector data would be to raster-
ize your vector images in your drawing program (such as Illustrator or
Freehand) and then print using Fast Images.
The Fast Images pattern prints much faster than Smooth Blends and
should be used when printing image (raster) data and vector data
without blends. Because Fast Images is always done within the RIP, files
that are not normally run through the RIP, e.g. unscaled/unrotated TIFFs,
CTs, or Targa files, now must be encapsulated and run through the RIP.
This extra time, especially for very large files, may offset any time savings

that you get from the faster screening. If much of your work does not
go through the PostScript RIP now, you should run timing tests before
deciding to use the Fast Images finish.
The Halftones Screening option will activate the Halftones tab in the
Color Adjustments dialog. This tab is where you can select what type
of halftone dot to use (Round, Cosine dot, etc.), as well as the halftone
screen angles.
Brightness Control
The Brightness Control is independent of the other curves in the Color
Adjustments dialog, and should be modified after setting the other
curves, as it will make the entire image lighter or darker. To edit the
Brightness curve, click on the Edit button to open the Brightness Curve’s
Color Curve Information dialog.
Select Curves
The Select Curves pop-up menu gives you different settings for the
four ink curves shown below the menu. To change an ink’s curve, click
the Edit button to open the Color Curve Information dialog, described
below. To adjust the percentage of maximum ink output, enter a value in
the ink’s Max. Ink entry box, also described below.
Figure 4.26. The Select Curves pop-up menu in the Adjustments tab of the Color
Adjustments dialog.
The first setting, Process Colors (CMYK), lets you control the amount of
Cyan, Magenta, Yellow, and Black ink; these are the standard inks on
every printer. If you are using the Pre-press version of ColorBurst, the
Installed Ink Sets selection in the Spot Color Definitions dialog will affect
these curves. The description of the Color Curve Information dialog has
more information on changing the Process Color curves.

The next setting, 6 Color Spot Inks is used in conjunction with the Spot
Color Definitions dialog. If you add a Defined Spot Color to your Installed
Inks list in the Spot Color Definitions dialog, a curve will be available for
that spot color in the Color Adjustments dialog. The curve can be set for
each spot color ink using the Edit button. The spot color named should
correspond to an ink installed in your printer, as well as a defined color
name in your file. The bottom two curves are disabled because there are
only two definable spot colors using a 6 color printer.
The 7 and 8 Color Spot Inks selection works in the same way as the 6
Color Spot Inks. The colors for each curve are named in the Spot Colors
Definitions dialog. All four curves are available under this setting.
The Light Ink Conversion selection is used to support six color printers
that have Light Cyan and Light Magenta ink. These curves function dif-
ferently from the Process Colors (CMYK) curves—they are used together
to distribute the file’s data among the regular and light inks. The Cyan
and Magenta curves in the Process Colors pop-up menu control the
overall Cyan or Magenta ink, and then these curves control how the
Cyan and Magenta color data is separated into the light and regular ink.
For example, the Light Cyan Curve Data may be set as follows: 0%=0,
40%=100, 100%=0. Cyan would then be set to: 0%=0, 40%=0,
100%=100. These settings indicate that from 0% to 40% data, the
Light Cyan ink should be used, and the Cyan ink should be used for data
over 40%.
When using Light Ink Conversion, it is recommended to set Cyan and

Magenta Process Curves to 1, and Max Ink to 100%.
The 7 and 8 Color Light Inks selection works in the same way as the 6
Color Light Inks. The color curves work together to distribute the data
between the yellow and light yellow and black and light black inks.
When you use a seven or eight color printer with all four light inks, the
Process Colors curves, Light Ink curves and 7 and 8 Color Light Inks
curves are all used together to process the image data.

Edit Button and Color Curve Information
Selecting any of the Edit buttons in the Color Adjustments dialog (in
each of the Ink Control and Brightness Control groups) opens a Color
Curve Information dialog for that control. You will see the name of the
curve at the top left corner of the Color Curve Information dialog above
a graphical representation of the curve.
Figure 4.27. The Color Curve Information dialog. This dialog can be opened for each ink
curve by clicking the Edit button in the Adjustments tab of the Color Adjustments dialog.
A curve converts input dot values that are read from the file being
printed to output dot values that actually print. The curve can be edited
in two ways. It can be treated as a mathematically smooth curve defined
by one value, or it can be manually defined at various points.
Suppose, for example, you want to lighten the midtones of your black
ink slightly while leaving the highlights and shadows basically un-
changed. In the Color Adjustments dialog select the Edit button in the
Black Ink Control group. The Color Curve Information dialog appears.
You might define one point on the curve to convert a 50% input dot
value to a 45% output dot value. This would remap every input dot be-
tween 0% and 50% along a straight line from 0% to 45%. Every input

dot between 50% and 100% would be remapped along a straight line
from 45% to 100%. This curve would convert a 25% input dot value to
22.5% on output, and convert a 75% input dot to a 72.5% output dot.
You might also choose to lighten the midtones by defining a curve as a

mathematical formula. In this case, you would set the Use Curve check-
box and set Curve Value to 1.15. Now each point is mapped according
to the formula. A 50% dot is converted to 45.06%, 25% is converted to
20.31%, and 75% is converted to 71.83%.
If you are using a mathematically defined curve but want to make man-
ual adjustments to it, you can select the Edit Points button to convert
calculated points from the mathematical curve to actual points on the
curve as if you had entered each point manually. You can then edit these
points as you wish.
You can manually adjust defined points on the curve either by enter-
ing precise values in the Curve Data table or by moving points with the
mouse and watching the results.
Figure 4.28. Each curve can be edited manually in the Color Curve Information dialog.
The Color Curve Information dialog can be used not only to change
an existing curve, but to view precisely how the curve remaps points.
The Show/Hide button toggles between showing only defined points
on the curve in the Curve Data table and showing all calculated points
between the defined points. Calculated points are shown in gray and
cannot be edited.
Max. Ink
The Max. Ink controls may be used when Enable Ink Limiting in not
selected in the Ink Limits tab. In almost every case, ink densities for large

format inkjet printers must be reduced to eliminate pooling of ink on the
media. The maximum printed ink that can be independently controlled in
the Color Adjustments dialog by the Max. Ink (10-125%) edit box in each
ink control group.
The four Max. Ink (10-125%) edit boxes should be the first controls
adjusted when doing initial color calibration. For example, let’s assume
you enter a value of 50% for the Cyan Max. Ink. This means that when a
100% cyan dot is to be printed, only a 50% dot is actually selected. All
other dot values are adjusted accordingly. When a 50% dot is specified,
only a 25% dot is selected, etc.
Halftones tab
The Halftones tab is only available if Halftones is selected in the

Screening (Finish) group. This tab contains halftone dot and screen
settings.
Figure 4.29. The Halftones tab of the Color Adjustments dialog.

Choose a halftone dot
Halftone dots come in many different shapes, such as elliptical, round,
diamond, and so on. The choose a halftone dot pop-up menu allows
you to select the shape of your halftone dot.
Use AccurateScreens
The Use AccurateScreens checkbox will turn on Adobe AccurateScreens.
This option will create smoother transitions, creating more shades of
gray. It is recommended that this checkbox always be selected.
Adjust ruling
The Adjust ruling to position dots on whole pixels will adjust any partial
dots to whole dots. It is recommended that this checkbox always be
selected; partial dots may cause unwanted patterns in halftoned output.
Ruling (dots per inch)

The Ruling entry box allows you to enter the dots per inch to use when
halftoning. The recommended value is 1/10th of your printer’s dots per
inch. For example, if you are printing on a 360 dpi printer, set Ruling to
36 dots per inch.
Screen angles
The Screen angles entry boxes contain the screen angles to use for each
ink. Screen angles will be used for any installed ink, as set in the Spot
Color Definitions dialog. The first four inks and their default screen
angles are: Cyan at 75, Magenta at 15, Yellow at 0, and Black at 45 de-
grees. For additional installed light inks, the angles should be exactly the
same as the CMYK angles—light inks are used to blend with the CMYK
inks so they must overlap.
Linearization Options
The next selection in the Options menu opens the Linearization
Options dialog. Linearization will allow you to standardize your color
output by equalizing the steps between specified ink densities or
chroma values. You can use the Linearization settings to create consis-

tent output and match output from multiple printers of the same type
(same ink and media).
For more information on Linearization and creating ICC profiles, please

refer to the SpectralVision Pro documentation, found in your ColorBurst\
Profiling Tools & Docs folder.
General tab
The Linearization Options dialog opens in the General tab, where you
can turn linearization options on and off and specify a LIN file.
Figure 4.30. The General tab of the Linearization Options dialog.
Allow linearization
Select the Allow Linearization checkbox to linearize your input data using
a specified .LIN file. When creating a LIN file, do not select this box. The
input data will not be linearized when this box is not checked.
Use chroma based linearization

The Use chroma based linearization checkbox is available when a LIN
file that contains both ink density and chroma or L*a*b* data is loaded.
When this checkbox is selected, the chroma or L*a*b* data in the LIN

file will be used to perform chroma based linearization, depending on
the selection in the method pop-up menu, and the ink density data in
the LIN file will be ignored. When this checkbox is not selected, the ink
density data will be used for linearization and any chroma or L*a*b* data
is ignored.
If you are relinearizing, you must make sure that the chroma based
linearization method matches the original method used in the profile.
When an environment is loaded, the correct method is chosen automati-
cally based on the profile’s data. Do not change this setting.
If the a LIN file containing chroma or L*a*b* data has not been loaded,
this checkbox will be disabled (dimmed) and linearization will be based
on ink density.
Print lin target

Select the Print lin target checkbox only when creating a linearization file
or a new ICC Profile. This option will automatically be deselected after
one print. This button will disable all ICC color correction so that the
print will contain raw data, which can then be read by a spectrophotom-
eter to create an ICC profile based on the printer’s raw output.
Cancel job on linearization error

Select this checkbox to cancel your current print job when there is an
error processing the linearization data. A message will appear indicating
that there was a linearization error, and the current layout will not print.
If this box is not checked and there is an error with the LIN file, printing
will continue without linearization.
Linearization file and path

The Linearization file and path group contains fields for the lin-
earization file name and default path for LIN files. The data in the
Linearization file (LIN file) is used to linearize your output. In order
to linearize your input, a LIN file must be specified. When a LIN file
is loaded, the Dmax or peak chroma values in the LIN file will be
displayed in the Original and desired Dmax/Chroma settings group
(directly above the Linearization file and path).

You can use a LIN file by itself, or use a LIN file and Desired densities or
chroma values. LIN files can be created on a regular basis to get a “read-
ing” of your printer’s current output, so that it can then be adjusted
according to your Dmax or peak chroma values for consistent output.
Dmax or peak chroma values should be set when an ICC profile

is created. When Dmax or peak chroma values are specified, the
Linearization file’s 100% values and the Dmax/Chroma values are com-
pared. The information in the current LIN file will be adjusted according
to the Dmax/Chroma values. Using Dmax or peak chroma values can
help you match output for multiple printers of the same type (using the
same ink and media) and ensure consistent output on the same printer
from day to day.
The Set Baseline button can be used as a shortcut to setting your desired
Dmax/Chroma values. This button will set the desired Dmax/Chroma
values to 5% below the Dmax or peak chroma of the LIN file. This is
the same as to going to the Advanced tab, selecting Set desired Dmax/
Chroma from next read of linearization minus (-): and entering 5% as
the value.
Advanced tab
The settings in the Advanced tab will override densities or chroma values
set from the LIN file.
Desired density/chroma values

You may enter Desired density/chroma values, which are the ink densi-
ties or chroma values that you will use to standardize your output. In
order for these values to be used, you must make sure the Use original
Dmax/Chroma settings checkbox is not selected.
Different Desired values may be entered for each of the ink colors—
Cyan, Magenta, Yellow, Black, and up to 4 spot color inks. Values of
25%, 50%, 75%, and 100% (the Dmax/peak chroma value) can be
entered. ColorBurst will map the LIN file values to the target values

entered here. This is helpful if you already know the densities at which
your inks should print (or chroma values if you are using chroma–based
linearization).
Figure 4.31. The Advanced tab of the Linearization Options dialog.
If any values are left blank, they will be calculated from the values that
were entered to create uniform values. If all fields are blank, the LIN file
will be used to determine the values.
Dmax/Chroma controls
The Dmax controls allow you to determine how the Dmax values are
set. If you specify Use Dmax/Chroma from desired densities, the values
entered in the Desired densities fields will be used (100% is the Dmax
value). If you select Use original Dmax/Chroma settings, the 100% value
will be read from the current Linearization file.
An additional option, Set desired Dmax/Chroma from next read of

linearization file minus (-) __%, is available in the Dmax/Chroma controls
group. When this option is selected, the Dmax or peak chroma value is
read from the linearization file and a threshold of __% is allowed. For
example, if you enter 5% here, the Dmax or peak chroma value will be
read from the linearization file and reduced by 5% of that value. This
allows built–in headroom from the possible maximum value to the work-

ing maximum value. This becomes very useful if an inkjet is clogged or
another media is used and the maximum density or chroma reading is
not as high in your LIN file as it is in the original LIN file. Entering a value
here will make the lower reading acceptable. It is recommended to enter
values in the range of 5% to 10%.
The Warn user when linearization’s Dmax/Chroma is less than desired

option will alert you if the readings in your linearization file have shifted
dramatically from your 100% Desired density/Chroma value. For ex-
ample, a shift of 0.05 in density is a natural occurrence, but a shift of 0.1
would be a visible difference. If you do not want to print with a visible
shift, you should enter a value of 0.1 in this box. It is not recommended
to enter anything higher than a value of 0.2 here. When the Dmax or
peak chroma value is out of range, ColorBurst will alert you so that you
will know there is something wrong with your printer.
Set Dmax/Chroma button

The Set Dmax/Chroma button should be used to validate LIN files, and
can also be used to replace Dmax/Chroma values. When the Use original
Dmax/Chroma settings radial button is selected and the Set Dmax but-
ton is clicked, the Desired density Dmax value is replaced by the 100%
value from the LIN file. To revert back to your previous values, hit the
Cancel button.
When the radial button is not selected, the Set Dmax button will simply
check header data and tags to verify that the LIN file is valid. A warning
will appear if the file is not valid.
Data points tab
The Data points tab displays the individual ink density or chroma values
from the most recent Lin file reading for Cyan, Magenta, Yellow, Black,
Spot color 1, Spot 2, Spot 3, and Spot 4. The data here will be listed as
ink density values unless the Use chroma based linearization button (in
the General tab) is selected. If chroma based linearization is selected,
chroma values are listed. This data can be used to determine if ink den-

sity or chroma values level out in the 90% – 100% range. If the amount
of gain for any ink is not at least .03 – .04, and the C, M, and K densi-
ties are at least 1.6 and the Y density is at least 0.9, then you can reduce
the maximum value to the point where it declines or levels out without
losing data. A new Lin file can then be made to create more tonal range
and keep paper drier. (Chroma values will typically be in the range of 60-
80 for CMK and 85-110 for Y, and will vary based on the ink set).
Figure 4.32. The Data Points tab of the Linearization Options dialog.
To reduce the maximum value, make a note of what percentage the data
is leveling out at. Close the Linearization Options dialog and open the
Color Adjustments dialog. In the Max. Ink field for the ink you want to
adjust, enter the percentage of ink where the data levels out. Once you
have set your maximum ink percentages, go back into the Linearization
Options dialog and turn Linearization off. Make a new Lin file and load
the new Lin file in the General tab of the Linearization Options dialog.
The data for the new Lin file will be displayed in the Data points tab.
For information on creating Lin files please refer to the SpectralVision Pro
documentation, found in your ColorBurst\Profiling Tools & Docs folder.

Ink Balance and RGB to CMYK
The Ink Balance and RGB to CMYK dialog allows you to control Ink
Balancing and RGB to CMYK color conversion. This dialog is activated by
selecting the Ink Balance item under the Options menu.
Figure 4.33. The Ink Balance and RGB to CMYK dialog.
The Ink Balance and RGB to CMYK dialog maintains two separate sets
of controls. Ink Balancing is used as a final ink adjustment after all other
color correction has taken place. RGB to CMYK is only used when RGB
Output is selected in the PostScript Options dialog and you are printing
to a CMYK printer (ColorBurst has to convert from RGB output to CMYK
output). You choose which set of controls to edit by selecting either Ink
Balance or RGB to CMYK in the first pop-up menu in the dialog.
In each set of controls, you may enable and edit Black Generation,
Undercolor Removal, and Ink Balance Adjustment. We recommend that
you use black generation and UCR only when converting RGB to CMYK,
and use Ink Balancing for all images as part of a final correction process.
You can, however, set up Ink Balancing when converting RGB to CMYK,
and you can specify Black Generation and UCR in the final correction
process. This section covers why you might want to use these additional
capabilities.

Why would you use ink balancing when converting RGB to CMYK? RGB
describes color; CMYK describes ink. Most CMYK images have already
been balanced for ink mixtures through whatever process converted
them to CMYK in the first place. SWOP ink standards are commonly
used. This ink balance may not be right for your printer, but, if it is, you
will not need to use ink balancing provided in ColorBurst.
An RGB image is converted to CMYK before any other correction takes

place. The purpose of RGB to CMYK conversion, then, is to create as
exact a duplicate as possible of the same image in its CMYK form. If you
print both RGB and CMYK images, the more closely the conversion rec-
reates your CMYK images, the more precise your other color corrections
can be. Describing ink balancing allows you better control of the RGB to
CMYK process.
Why would you use black generation and undercolor removal during the
ink balancing process? In theory, black is black so the addition of CMY
has no affect. In reality, the additional CMY makes for a deeper black,
and, according to how your inks interact, CMY might even change black
to a dark brown. Dark areas in CMYK images often have both black
and CMY. Eliminating some or all of the additional CMY, then, is an ink
adjustment to allow better detail in dark areas.
When you specify black generation and UCR for both RGB conversion
and ink balancing, these corrections take place twice when printing an
RGB image. The same holds true for ink balancing. Because it is dif-
ficult to calibrate when both corrections take place, we recommend
that you separate the processes as we have described in the calibration
procedures.
Black Generation
The Black Generation group in the Ink Balance and RGB to CMYK dialog
allows you to turn black generation on and off. When black generation
is on, the items in this group set up the variables used in the calculation
of the added black.

The first item in the Black Generation group is the Enable Black
Generation checkbox. When this checkbox is selected, black generation
is active.
CMY is subtractive meaning that as more color is added, light is sub-

tracted. Saturated CMY is black. RGB is additive; adding color adds light.
Saturated RGB is white. Equal amounts of RGB or CMY colors are gray,
but in reverse order of each other. A CMY element made up of 20%
cyan, 30% magenta, and 40% yellow shares 20% gray because it has
at least 20% of all three colors. An RGB element made up of 20% red,
30% green, and 40% blue, shares 60% gray. That is, 20% red is still
80% black, 30% green is still 70% black, and 40% blue is still 60%
black. The RGB element shares at least 60% gray in all three colors.
Black generation works on this shared gray.
Minimum Gray specifies a threshold where black generation begins.

Black generation is effective in shadow areas of an image. Adding black
to light grays often results in an unacceptably dark image. The Minimum
Gray edit box allows you to specify what percent the gray shared by
all colors has to reach before black generation begins. Remember that
smaller percentages of RGB are darker so all three colors must be less
than 60% to share 40% gray. The higher you set Minimum Gray, the
darker the color has to be before black generation begins.
Maximum Black lets you specify the maximum amount of black that can
be generated. Setting this to 80%, for example, will generate only 80%
black from solid black. Black is generated in proportion to this value.
That is, if a color generates 30% black when Maximum Black is set to
100%, that same color will generate 15% black when Maximum Black is
set to 50%.
The Curve allows you to enter a value from .3 to 4.0 to specify how fast
black generation proceeds. Black generation starts when the shared
gray reaches Minimum Gray, and ends at 100% black which generates
Maximum Black. The value input is represented graphically below the
entry box. The value represents an exponential curve similar to a gamma
curve. Entering “1” is a straight line. Entering a value less than 1 gives

a curve above the straight line which represents more black generation
than the gray that it replaces. A value above 1 shows a curve below
the straight line which represents slower black generation. As the curve
value becomes larger, a steeper curve results toward the black ink. This
would represent very little black generation at the minimum gray end
and very fast black generation at the maximum black end. A value be-
tween 1 and 2.5 will probably give you the best result. The default is 1.
Undercolor Removal (UCR)

The Undercolor Removal (UCR) group in the Ink Balance and RGB to
CMYK dialog lets you turn undercolor removal on and off, and lets you
specify the percent of generated black that is removed. When UCR is
off, any black that is generated is added to CMY. When UCR is on, some
part of the black that is generated is removed from CMY.
Enable UCR is the first item in the Undercolor Removal (UCR) group. UCR
is active when the Enable UCR checkbox is selected.
The Maximum UCR edit box lets you specify what percent of the black
generation value is to be removed from CMY. If, for example, Maximum
UCR is set to 20% and 30% black is generated, then cyan, magenta,
and yellow is each decreased by 6% (20% of 30%). Setting Maximum
UCR to 100% subtracts all of the generated black value from CMY.
Ink Balance Adjustment

The Ink Balance Adjustment group in the Ink Balance and RGB to CMYK
dialog can be edited for adjusting ink percentages for printing CMYK im-
ages, as well as to control color conversion of RGB images to CMYK. You
specify either of these sets of controls through the initial pop-up menu
in the dialog.
When enabled, the controls allow you to specify red to be some percent
of magenta and yellow inks, green to be some percent of cyan and
yellow, blue some percent of cyan and magenta, and gray some per-
cent of cyan, magenta, and yellow. In the RGB to CMYK controls, these
percentages are used in converting RGB to CMYK. For example, if red is
specified to be 100% magenta and 50% yellow, when a 20% red dot

is converted to CMYK, it becomes 20% magenta and 10% yellow. After
a line of data has been color corrected, but before it is halftoned and
printed, the cyan, magenta, and yellow are adjusted according to the Ink
Balance Adjustment specifications for the Ink Balance controls.
If you enable Ink Balance Adjustment controls for both RGB to CMYK
and Ink Balancing, an RGB image will be corrected twice before it is
printed; once for each set of controls.
Test Conversions
The Test Conversions group in the Ink Balance and RGB to CMYK dialog
displays the black generation, UCR and converted CMYK dot values that
are calculated from any RGB or CMY percentages that you specify. In
addition, the actual RGB color is displayed as a circle below the RGB edit
boxes.
When the dialog first appears, the Test Conversions group displays a
brief explanation plus the Red/Cyan, Green/Magenta, and Blue/Yellow
edit boxes. When the RGB to CMYK option is selected in the pop-up
menu, the values entered are displayed in a colored circle as percentages
of RGB and two messages appear below the colored circle. The top mes-
sage informs you of the black generation value that has been calculated
from the RGB percentages, and the bottom message informs you of the
UCR value that has been calculated. Each message displays both the per-
cent and dot value. Dots are in the range 0 - 255, so 40%, for example,
is equivalent to dot 102. Below this information, you will see Converts
to: with the percentages of C, M, Y, and K that will be generated from
the values entered. These percentages include ink balance calculations if
they are in effect. When Ink Balance is selected in the pop-up menu, the
values entered are assumed to be CMY, and the information is displayed
accordingly.
The black and UCR calculations use the currently displayed items in the
dialog, not the permanent values in effect. This allows you to change any
or all of the settings in the Black Generation and Undercolor Removal
(UCR) groups, run tests to see the effects that these settings have on

black generation and UCR, and then select the Cancel button to leave all
current settings unchanged.
The display of the colored circle is only as good as the display hardware
on your computer. Some display systems can only dither solid colors
to give you the effect of the RGB colors. Other display systems should
match the RGB colors quite closely.
Once all values in the Ink Balance and RGB to CMYK dialog are set,
select the Save button to keep them or select the Cancel button to abort
the values to their previous settings. You may access ColorBurst’s Help
files discussing the Ink Balance and RGB to CMYK dialog by selecting the
Help button.
Spot Color Definitions

The Spot Color Definitions dialog handles all files that have spot color
data, including separated input such as DCS or pre-separated PostScript.
The dialog contains four tabbed windows; it opens in the Spot
Color Definitions tab.
Spot Color Definitions tab
The Spot Color Definitions tab allows you to enter the name and output
values for each spot color.
Spot Color CMYK Values and Defined Spot Colors

ColorBurst has the ability to stitch together and print pre-separated
PostScript files generated by page makeup applications. Each pre-sepa-
rated layer is named according to the process color or spot color used to
print the layer. As ColorBurst encounters a separate layer, it displays the
name of the layer in its message window.
The process colors (CMYK) need no special setup. When a spot color
name is encountered, however, ColorBurst needs a CMYK (or RGB)
definition to represent that colored ink. If no spot color by that name

has been defined, ColorBurst skips the layer and adds the message
“-ignored” after the spot color name in the message window. If a spot
color name has been defined as some combination of inks, ColorBurst
processes the layer and combines it with the process colors.
Figure 4.34. The Spot Color Definitions tab of the Spot Color Definitions, Ink Sets, and
Separations dialog.
There are no predefined spot color definitions. It is the user’s responsibil-

ity to define all spot colors that he/she intends to use in pre-separated
jobs. You may define an unlimited number of spot colors, however a
maximum of 30 spot colors may be used per file. That means that a pre-
separated job can have up to 34 layers—4 process colors and 30 spot
color layers. If more than 30 defined spot colors are included in a job,
the 31st and greater spot color layers will be ignored.

The Spot Color Definitions dialog allows you to define an unlimited
number of spot colors. To add a new spot color, enter the name of the
spot color in the editable portion of the Defined Spot Colors pop-up
menu. If a name is already there, overwrite it with the name you want to
add. The name is not case sensitive; “red,” “RED,” “Red,” etc. all match
the color “Red” found in a pre-separated job. Next, enter the values of
Cyan, Magenta, Yellow, and blacK in the appropriate box in the Spot
color CMYK values group. If you are using a six-color printer, you may
also enter values for inks 1 and 2; if you are using an eight-color printer,
you may also enter values for inks 3 and 4 to make the defined color a
combination of up to all eight inks. However, if your 8-color printer uses
light inks, do not set values for the light ink cartridges—these values are
determined through color correction by ColorBurst. Each value can be
between 0% and 100% in hundredths of a percent.
Once you have the name and ink values showing in the proper fields,
click the Add button below the pop-up menu. The new name will be
added to the list in the pop-up menu with the values entered. To edit
the ink values associated with this name, select the name in the pop-up
menu, change any values, and click the Edit button. To delete the name
and its values entirely, select it in the pop-up menu and click Del.
You may define a spot color using RGB or L*a*b* values as well as, or
instead of, ink percentages. The RGB values will be used when output-
ting to an RGB film recorder, and are entered in the same manner as the
CMYK values.
When trying to match a color that has already been printed, L*a*b*
values can be used instead of CMYK values to recreate the ink color.
A densitometer can be used on any printed swatch to find the L*a*b*
values for that color. When the L*a*b* values are entered here, they will
be interpreted through the current output profile to produce a print that
matches your original swatch.
The CMYK and RGB color circles display the difference between the
CMYK and RGB values. Please note that the CMYK color is used in this

display only, it does not represent output accurately due to the limita-
tions of the screen.
If you make changes without clicking Add or Edit and you close the dia-
log using the Save button, the current ink values will be saved under the
current spot color name. If you want to exit the dialog without keeping
your changes, be sure to use the Cancel button to close the dialog.
Clear all spot colors button

The Clear all spot colors button will erase the entire list of spot colors.
This button does not give any type of warning message, so make sure
not to press it unless you are sure you want to delete all of your spot
colors from the list. Once it is pressed, the colors are gone.
Treat all suffixes as same spot color

This checkbox allows you to specify that all spot colors beginning with
the same name be treated as the same color. To do this, select a spot
color name from the pop-up menu, click the Treat all suffixes as same
spot color checkbox, and the click the Edit button. This must be done for
each color one at a time. This is useful when printing files created from
several different applications, since each supplies the same information
with different names in the suffix.
If entered, use L*a*b* to process named colors

If you enter L*a*b* values for a Spot Color Name and this option is
selected, ColorBurst creates the CMYK spot color values on-the-fly using
the L*a*b* values, based on the current ICC Output profile. When this is
not selected, the CMYK values from the Spot Color Name list are used.
Allow import file to overwrite spot colors and Import button

The Import button is available for users of Praxisoft’s VectorPro and simi-
lar programs. This program can export a text file with a list of spot color
names and their CMYK values, based on ICC profiles that can be built to
match your ink and paper. The Import button will read this list of color
names and values, and will add each spot color to ColorBurst’s Defined
Spot Colors list. The Allow import file to overwrite spot color checkbox

will rewrite any existing spot colors that have the same name as a spot
color named in the text file that is being imported.
Add message for each spot color name

When this checkbox is selected, a message is added to the Messages
window for each spot color name encountered in the PostScript job. You
must have a Display monitor Output Profile specified in the ICC Profile
Options for ColorBurst to create spot color messages.
Import from PS button

The Import from PS button will read spot color names and values from
a PostScript file. When you click the Import from PS button, a standard
Open window appears, allowing you to select a PostScript file (.PS, .EPS,
.PDF, or .DCS). When the selected file is opened, it is ripped and each
spot color found in the file will be added to ColorBurst’s Defined Spot
Colors list. The Message window shows the number of spot colors found
and added to the list. This button should be used before opening files in
a layout.
When the Allow import file to overwrite spot color checkbox is selected,
the spot colors in the PostScript file will overwrite any existing spot colors
that have the same name.
Select and Save Spot File buttons

The Select Spot File and Save Spot File buttons let you save and retrieve
different sets of Spot Colors. Clicking the Save Spot File button opens a
standard Save dialog and the Select Spot File button opens a standard
Open dialog. Spot color files are saved with an extension of .spt and
contain a list of spot color names and their ink values. No other settings
in the Spot Color Definitions dialog are saved in a .spt file. The default
location for .spt files is in the spot folder in the ColorBurst install folder.
When you save a spot color file and then save a printer setup file, the
printer setup knows which spot color file to use, so all color names and
values are saved with that printer setup file.

Clear Last Spot File
The name of the Last spot file in effect will be displayed at the bottom
of the Spot Color Definitions window. You can clear, or remove, the last
spot file using the Clear Last Spot File button. This will remove the asso-
ciation with the last spot file, but the spot names and definitions will still
appear in the list. You can remove all of the spot files from the list using
the Clear all spot colors button.
Ink Sets tab
The next tab in the Spot Color Definitions dialog, Ink Sets, lets you
specify the color of each ink cartridge installed in your printer. This is use-
ful when using Hexachrome inks or custom ink colors.
Current Ink Set

The 6, 7, and 8 color ink set buttons determine which inks sets are
available in the Current Ink Set pop-up menu. When the 6 color ink
set button is selected, only 6-color ink sets will appear in the pop-up
menu; when 7 color ink set is selected, the pop-up menu will show only
7-color ink sets, and so on. Select an ink set from the pop-up menu that
matches your printer and your job. The colors in the ink set you choose
will show up in the Installed Inks menu. They will also appear in the
Color Adjustments dialog’s Light Inks and Spot Inks sets, allowing you to
adjust their curves and define their usage. You may delete installed inks
to add more by using the Delete button. The Reset button will restore
setting to their default and remove any inks added to the list, as well as
reset any ink reordering below.
Defined Spot Colors and Installed Inks

The Installed Ink list represents the colors, in order, of the ink cartridges
installed in your printer. To define a Spot Color as an Installed Ink (the
spot color must first be created in the Spot Color Definitions tab), click
the arrow button between the Defined Spot Colors and Installed Inks
pop-up menus. Your spot color will now be listed in the Installed Inks
pop-up menu. ColorBurst now recognizes your extra ink cartridge as the
color you entered in the spot color. The new Installed Ink can be ad-

justed in the Color Adjustments dialog, by selecting the appropriate Spot
Inks curve in the Select Curves pop-up menu.
Figure 4.35. The Spot Color Definitions tab of the Spot Color Definitions, Ink Sets, and
Separations dialog.
Reorder inks for output to printer

The Enable reordering of inks checkbox is available for use with very
customized printer ink sets. This setting will not be necessary for most
printers. There is a separate setting (on/off) for each ink set.
When creating custom ink sets, the order of the inks is critical—the
order of inks defined in ColorBurst must match the order of the ink car-
tridges in your printer. When Enable reordering of inks is selected, you
have the ability to define the order of the installed inks in relation to the
printer. This will define a new order for the data file sent to the printer.

Light Ink Conversions
The Light Ink Conversions group allows you to define which ink is used
when creating light ink data. This setting is particularly helpful when
using both medium and light inks. If light inks are installed in the printer,
you must make sure that the correct ink is selected. For example, if Light
Magenta and Medium Magenta inks are installed in the printer, make
sure that Magenta is selected next to both Light Magenta and Medium
Magenta. This ensures that any magenta data in the file is correctly con-
verted from magenta to light and medium magenta.
Separations tab
The separations tab tells ColorBurst how to handle pre-separated files.
Print Separations
When the Print separations individually checkbox is selected, each
pre-separated file placed in a ColorBurst layout will print as separations
instead of a composite image. This checkbox tells ColorBurst to ignore
the rest of the settings in the Separations tab.
If Combine separations into multi image layouts is selected, ColorBurst

will place each separation into the layout during processing. This check-
box can be used to save media.
Fast Separations
This checkbox tells ColorBurst to make the intermediate grayscale file
smaller, for faster processing. It should be used with 4 or 6 color pre-
separated files that do not contain spot colors. Normally, separated data
is 8-bit data which is merged to a final composite job for printing. When
Use Fast Separations is selected, ColorBurst RIPs directly to 1-bit. This
means that ColorBurst cannot merge custom colors, so spot colors are
ignored. If you don’t want spot colors ignored, de-select the Print fast
separations with spot colors checkbox; this will cancel the print job if a
custom color is found.

Figure 4.36. The Separations tab of the Spot Color Definitions, Ink Sets, and Separa-
tions dialog.
NOTE: If Fast Separations is selected, you must set Patterned Finish

in the Color Adjustments dialog to Quality-Fast, and ICC pro-
files for Grayscale data must be turned off.
If Fast Separations is not selected, you have the option to use the Low-
res separations instead.
Use Low Resolution Separations

This option can be used to speed the processing of large separated files.
When a pre-separated file is processed by ColorBurst, a grayscale inter-
mediate file is created from each separation, and then they are stitched
back together to print the final image. The number entered in the Use
Low Resolution Separations box is the percentage of the Layout DPI that

you wish to process the separations at. You may enter a value of 25%
up to 100%. For example, if your layout is set to 600 DPI and you enter
a value of 50% here, the intermediate grayscale files will be created at
300 DPI. Creating smaller intermediate files can speed the processing up
significantly. The file is then printed at the original resolution, or 600 DPI
in this example.
Search All PostScript Files For Separations

When selected, ColorBurst will search the beginning of every PostScript
file processed to determine if the file is separated or not. This is useful
when processing files created in programs that do not include separa-
tion comments in the beginning of the PostScript file. If you are certain
that a file is separated but ColorBurst is not outputting the separations,
turn this checkbox on so that ColorBurst can recognize the separations.
Otherwise, this box should be left unchecked, since searching each
PostScript file will make processing slower.
Default paths tab
The default paths tab tells ColorBurst where to look for spot color files.
Spot file path

The Spot file path entry is where ColorBurst will look when the Select
Spot File button is used in the Spot Color Definitions tab. The default
entry here is the Spot folder, located in the ColorBurst install folder.
Import file path

The Import file path is used with the Import button in the Spot Color
Definitions tab. When the Import button is clicked, ColorBurst will open
an Open dialog using the path entered here as the default path. The
default entry here is the ColorBurst install folder; you should change it to
wherever your Praxisoft files (or files from a similar program) are located.

Figure 4.37. The Default Paths tab of the Spot Color Definitions, Ink Sets, and
Separations dialog.
Tiling Options
The Tiling Options dialog can be opened by selecting Tiling Options
under the Options menu.
The first options in the Tiling Options dialog let you choose the order in
which the tiles print. Print rows prints tiles from the upper left to right,
then the next row of tiles from left to right, and so on. Print columns
prints tiles from the upper left to lower left, then the next column from
top to bottom, and so on.
You may have all tiles in a job automatically fit into the current layout by
selecting the Automatically include all tiles in current layout checkbox.

Any tiles that do not fit in the layout window will produce an error mes-
sage, “Image does not fit in layout.”
Figure 4.38. The Tiling Options dialog.
Tile Size
The Tile Size option lets you enter a tile Width and Height or set the tile
size to the size of the current layout by selecting Set tile size from cur-
rent image area. If this box is not selected, you must add each tile to the
layout individually.
Tile Overlap
The Tile Overlap option lets you enter how much overlap should be
printed on each tile. The overlap area prints on all interior sides of each
tile, and 1/4” long crop marks are printed outside of the overlap area for
trimming. Overlap and crop marks are added to the tile size when you
enter a tile Width and Height. Overlap and crop marks are included in
the tile size when you select Set tile size from current image area.
Trim Outside Tiles

The Trim Outside Tiles group lets you define the amount of image to
trim around the perimeter of the entire tiled image. This is an indepen-
dent measurement from the Tile Overlap, so that your perimeter trim

amount can be a different size than your overlap between tiles. A posi-
tive value entered here will place trim marks inside the image.
Minimum Tile Size

The Minimum Tile Size settings are optional; entering values here force
tiles to be at least as large as the values.
Output file template

The Output file template edit box allows you to specify the name of an
output file which will be created when saving a tiled image. Each tile is
a separate file, unless there is more than one tile in the layout; a file will
be created for the layout of tiles in that case. The File Name Template is
described in detail earlier in this chapter, under Layout Options.
In the Tile Output file template, %t adds the number of the tile (the
number of the tile is affected by print rows/columns). In all other file
name templates, %t will add the time the file was created.
The default setting is the filename (%f), incremental numbers (%u), and
tile number (%t); this ensures that no files are overwritten.
Font Maintenance
The next selection on the Options menu is Font Maintenance. Making
this selection will display the Font Maintenance dialog. This selection en-
ables the JAWS RIP that is used by ColorBurst, to update its list of known
fonts, which is necessary for interpreting PostScript text commands
when fonts are not included in the PostScript file.
ColorBurst recognizes three categories of fonts:
• ATM, which have a .PFB extension,

• True Type, which have a .TTF extension (usually found in the
Windows directory),
• Non-ATM fonts, which have various extensions.

These fonts may exist in three separate directories or they may all be in
the same directory. Either way, ColorBurst must know where they are;
enter the directory path in the selection boxes marked ATM Fonts, True
Type Fonts, and Non-ATM Fonts.
Figure 4.39. The Font Maintenance dialog.
Font Path and Search String

To update the ColorBurst font list, first specify the Font Path (including
drive letter) and Search string (this is usually just the extension; separate
multiple types with a semi-colon). Then click the Update button.
If any files in these directories are not fonts, screen messages will inform
you of these errors. Also, a completion message will signal the end of
the update.
Automatic Overwrite
ColorBurst will not automatically overwrite an existing font with a new
one without your permission, either by responding “Yes” to the over-
write verification or by pre-selecting the Automatic Overwrite checkbox.

NOTE: The Save button only saves changes made to Path names
in this dialog. The Update button updates the Font List and
does not need to use this function.
Choose Layout Window Font

The Select Font button opens a Font window that lets you select the
screen font used by ColorBurst. You may choose any True Type font
installed on your computer, using any mode (bold, italic, etc.) and any
point size. This is only used for ColorBurst screen display such as file
names in the layout window—it has no effect on files.
Cancel job if fonts are missing

Select the Cancel job if fonts are missing checkbox if you want to cancel
printing when ColorBurst can’t find a font specified in a file. If this box is
not checked, the font will be substituted and the file will print with the
substituted font.
For more detailed information regarding fonts, font maintenance, and

how to manually substitute fonts for those named in the PostScript
input files, please refer to the ColorBurst Help files by selecting the
Help button.
Miscellaneous
The Miscellaneous Options dialog is used to set up miscellaneous items
that are not covered in other dialogs. Currently, two general categories
are covered in Miscellaneous Options; turning on and off log file genera-
tion, and specifying APR (Automatic Picture Replacement) settings.
Figure 4.40. The Miscellaneous Options dialog.

Log files are files which contain all messages generated by ColorBurst for
one 24-hour period. The name of the log file is generated by ColorBurst,
but you specify whether log files should be created, and, if so, where.
APR is a method by which high resolution images needed for printing

are automatically substituted for low resolution images used during page
makeup. APR was created by Scitex Corp. A different but similar process
is OPI (Open prepress interface). At the current time, ColorBurst only
supports APR.
Log File
You can save every message that is written to ColorBurst’s message win-
dow by turning on log file generation. Log file can be very helpful in list-
ing activities, showing files that were printed, and pinpointing problems.
Log files are turned on in one of two ways. The primary method of
turning logging on and off is through the Miscellaneous Options dialog.
The group named Log File has two items. The first is the Write messages
to log file checkbox. If this is checked, logging is in effect. Selecting this
item will turn logging on if it is off and off if it is on. The second item in
the group is the Log file path edit box. You should specify the full path
of where you want the log file to be created in this edit box.
There is also a short cut in the message window itself for checking and
activating/deactivating logging. At the upper left corner of the mes-
sage window, a small rectangle can be selected to pop-up menu the
window’s control menu. One of the control menu items is Write Log File.
If this menu item has a check mark next to it, logging is in effect. If there
is no check mark shown, logging is not on. You can click on this menu
item to turn logging on if it is off and off if it is on.
A log file lists messages for one 24 hour period. Its name is generated by
ColorBurst in the form “CBYYMMDD.LOG” where “YY” is the last two
digits of the year, “MM” is the month, and “DD” is the date. For exam-
ple, a file named CB950130.LOG lists all messages that were displayed in
the message window while logging was in effect on January 30, 1995.

The naming convention was chosen so that a directory list sorted alpha-
betically will show all log files in order from latest to earliest.
Automatic Picture Replacement

Automatic Picture Replacement (APR) is a process created by Scitex
Corp. for substituting high resolution images needed for printing for low
resolution images used during page makeup. APR is similar to OPI and
is made up of a series of comments in a PostScript file which defines
the name of the high resolution file. You turn searching for APR com-
ments on an off, and you define search paths where ColorBurst looks for
replacement files in the Miscellaneous Options dialog.
The APR Search in effect checkbox turns searching on and off. If the
checkbox is selected, APR searching is in effect. When searching is
on, ColorBurst looks for APR comments in the PostScript file as it
is being read. If comments are found, ColorBurst checks that all re-
quired information has been found. Once found, all defined paths are
searched looking for the file named in the APR comments. When found,
ColorBurst checks that the file is a proper file type (TIFF, JPG, CT, EPS,
etc.) and substitutes the file in place of the APR comments. Note that
there is a small performance penalty encountered when searching for
APR comments. If you never use APR substitution or you know that a file
has no APR comments, it is better to turn off APR Search in effect.
When selected, the Error if replacement not found checkbox will report
an error during processing if the file named in the APR comments cannot
be found in the path specified in the Search paths pop-up menu.
The file named in the APR comments is assumed to have no pathing

associated with it. You must define all paths where the high resolution
file might be found in the Search paths pop-up menu. Search paths is
a combination box with an edit box for entering names and a pop-up
menu for listing existing names. You first enter the edit box. With the
keyboard use up and down arrows to list all defined search paths one-at-
a-time. Using the mouse, click on the arrow next to the edit box to list
as many search paths as will fit in the pop-up menu. If necessary, a scroll
bar will display to allow you to scroll to the top or bottom of the list.

Up to 8 search paths can be defined. There are three buttons used for
changing the search paths. Use Add to add new search paths, Edit to
change the name of an existing path, and Del to delete a defined path
from the list. If adding a new path, overwrite any name in the edit
box with the name of a path that you want to add. When the name is
correct, select the Add button. You can then look at the defined paths
in the pop-up menu to see that the new path has been added to the
bottom of the list. To change an existing path name, select the path that
you want to change so that it appears in the edit box. Change the name
and select Edit. When you look at the list in the pop-up menu, you will
see that the name of the search path has been changed. To delete an
existing path, select the path so that its name appears in the edit box.
Select Del to delete the name from the list.
The name of the high resolution file may have a long file name from a
Macintosh workstation. Currently, ColorBurst can only search for long
file names using AFP (AppleTalk Filing Protocol) services on a Novell
Netware LAN. Before searching for a file, ColorBurst opens AFPWARE.
DLL which is delivered with ColorBurst. This checks for a Novell LAN,
and, if available, uses AFP services to find the file name. If a Novell LAN
is not available, the short name of the file is searched for which is usually
the first eight characters of the name.

5
Spooler Menu
The fourth menu item is Spooler. This setup will automate the printing
process by monitoring up to fifty specified directories, or queues. Each
queue is defined by the settings in the Setup Spooler dialog and, most
importantly, a printer setup file.
Figure 5.1. The ColorBurst Spooler menu.
The Setup Spooler dialog allows you to define a queue’s Output queue,
Done queue, whether layouts are on, etc. For example, you may define
one queue to print single files and another queue to print layouts.
Choosing Save Printer Setup from the Options menu saves the cur-
rent Options settings in an printer setup file. This allows you to further
customize each queue. For example, you can set up several queues and
have each go to a different printer, each may have different resolutions,
different color corrections, different image areas, another queue may
save files without printing, etc.
Setup Spooler
The initial selection on this pop-up menu is Setup Spooler, which will
display the Setup Spooler dialog.
ColorBurst RIP Spooler Menu · 127

Queue to Monitor
The Queue to monitor pop-up menu allows you to define up to 50
unique queues. You may set the maximum number of queues that you
want available in the Maximum queues edit box located near the bottom
right corner of the Setup Spooler dialog. All of the other options in the
Setup Spooler dialog (except the Time between checks option) are tied
to the Queue to monitor; when you select a queue, the other settings
define that queue.
Figure 5.2. The Setup Spooler dialog.
To define a queue, enter the full path of the directory that you want
ColorBurst to monitor in the Queue to monitor entry box. The Find
button to the right of the entry box makes it easy for you select a folder
to monitor. If the folder does not exist yet, you may enter a name and
ColorBurst will create the folder for you. Next, enter the Queue Support
information (either manually or using the find buttons) and choose any
other options in the Setup Spooler dialog that you wish to define for that
queue (see below for more details). Once you have defined the queue,
select the Add button to add the queue to the pop-up menu list. To edit
128 · Spooler Menu Layout Series

an existing queue, select the queue from the Queue to monitor pop-
up menu, make any changes, and select the Edit button. To delete an
existing queue, select the queue you wish to delete from the Queue to
monitor pop-up menu and select the Del button.
Queue Support
The Queue Support group contains six editable pop-up menus that are
used to define the queue shown in the Queue to monitor entry box. In
each of these boxes, except the Files to monitor box, the full path of the
directory must be entered.
The Output queue entry is where the bitmap (TIFF or CT) or output is
placed upon completion. If files are to be printed and not saved, the
temporary files will be created here unless a Temporary queue is named.
When both are named, a file that will be deleted will be created in the
Temporary queue. If no output queue is defined, the output file will be
created in the Output Directory specified in the Postscript/Layout Output
File Options dialog.
The Done queue is where the input file is moved upon completion of the
job. If no done queue is entered, the file in the monitored queue will be
deleted, and no copy of it will be retained.
NOTE: The Done queue should be on the same disk volume as the
Queue to monitor for a file to be able to be moved into
that Done queue. Otherwise, the file is copied to the Done
queue. If the file is very large, a copy instead of a move will
seriously affect performance.
The Temporary queue is reserved for temporary intermediate files and

job title files created during spooling. When images that are sent to the
spooler are processed by the PostScript interpreter (PostScript files and
any scaled, rotated, or cropped file), they may be converted into bitmap
files before they are printed. These files are saved in the Output queue. If
they are to be deleted after printing, and a Temporary queue is specified,
the files will be created there instead of in the Output queue, and will

then be deleted after printing. If the output queue is not on a local disk,
it is a good idea to create a Temporary queue to relieve network traffic.
Any files that create an error during spooling are moved to the Error
queue. If an Error queue is not defined, the files are moved to the Done
queue instead.
The Printer Setup file is the most important part of multi-queue. It tells
the queue how to handle the files during spooling. It contains settings
for all dialog options that take effect without restarting ColorBurst. This
feature allows you to customize each queue.
When setting up a queue to monitor, you should already have an idea of

what you want that queue to do (which printer to send the monitored
files to, image area size, what type of color corrections, etc.). To give
your queue the appropriate characteristics, you need to create an Printer
Setup file for your queue. In each of the Options menu dialogs, make
the selections that you want to define your queue. Then select Save
Printer Setup from the Options menu. The entire name (drive, path, and
file name) entered when saving the printer setup file should be entered
in the Printer Setup file edit box in the Setup Spooler dialog. When the
queue is monitored, it will use the printer setup file’s settings to process
the files.
A file named CURRENT.ENV is created when spooling begins holding the

current printer setup file. It is used as the printer setup file whenever a
printer setup file is not named. CURRENT.ENV is deleted when spooling
is turned off. For these reasons, you should avoid naming a printer setup
file CURRENT.ENV.
The type of file to monitor may be specified in the Files to monitor (*.*)
entry. The file type may be a specific extension (such as “*.TIF”), a key
letter or numeric sequence (such as “PG12*.EPS”), or all files (using the
*.* argument). You may specify to monitor more than one type of file
by separating entries with semicolons (“*.TIF;*.EPS”). If no file type is
entered, all files (*.*) will be monitored.

Special button and Special Queue Setup
The Special button in the Spooler dialog opens the Special Queue Setup
dialog. This dialog is used to automatically scale every image in a queue
and to print multiple copies of spooled files.
Figure 5.3. The Special Queue Setup dialog, opened by clicking the Special button in
the Setup Spooler dialog.
The Scale all images in queue checkbox enables scaling of all images
in a queue. When selected, five scaling options are available. The first,
Scale all files to width of layout area, will scale each file in a queue to the
width of the layout area (set in the Printer Options dialog). The second
option, Scale all files to height of layout area, scales all images in the
queue to the height of the layout area. The third option is to Scale by
percentage. 100% is the original size of the image. Any number less
than 100 will make the image smaller, and any number greater than 100
will enlarge the image. The fourth and fifth options allow you to scale
all images in the queue to a specified width or height by entering that
number in the edit box.
The Number of copies to print checkbox allows you to specify how many
copies of each file to print. If you have layouts turned on in spooler, each
layout will print the specified number of times. The default value is 0,
which is the same as 1. For more than one print, enter the number of
prints you want in the edit box.

Hide queue
Selecting the Hide queue checkbox will ignore that queue during spool-
ing. You will notice that any hidden queues are disabled under the
Queue to Monitor pop-up menu. Deselecting the Hide queue checkbox
will make the queue active again.
Include subdirectory images

The Include subdirectory images checkbox allows you to specify whether
or not the queue’s subdirectories should be monitored during spooling.
NOTE: If the Include subdirectory images checkbox is selected all

subdirectories will be monitored. Make sure your Output,
Done, and Error queues are not set up as subdirectories of
the monitored queue.
Move/Copy files only

When the Move/Copy files only box is checked, files in the moni-
tored queue are not placed in layouts — they are simply copied to the
Output queue and moved to the Done queue. When the Done queue
is not defined, files are moved to the Output queue. If no Output
queue is defined, the files in the monitored queue are copied to the
Output Directory, defined in the PostScript/Layout Output File Options
dialog. The Message Window will display information for each file
copied or moved.
The Move/Copy files only option can allow ColorBurst queues to be used
in a more general purpose manner, to be used as part of other spoolers
on a system, or to add better flow control. You can restrict which files
will be processed by setting up acceptable file names in Files to monitor
(*.*). Files that are processed, however, do not have to be image files
that ColorBurst can print.
Convert Only Options

All files processed by the Spooler will be printed unless the Convert only,
no print checkbox is selected. Selecting this checkbox will enable the
Convert to TIFF file and Convert to Scitex CT file option buttons.

For example, to convert a PostScript image to a Scitex CT through the
Spooler, perform the following steps:
1. Select the Convert only, no print box.

2. Pick the Convert to Scitex CT file option.
3. Enter the PostScript image file type (such as *.EPS;*.PS) in the Files to
monitor (*.*) entry field.
4. Start the Spooler.
Each file opened by the Spooler will be saved as an individual file. The
Layout queue files checkbox is disabled when Convert only, no print is
selected. If a CLF is processed when Convert only, no print is in effect,
each file pointed to by the CLF is converted to the desired file type.
You may create one TIFF or CT file of your entire layout as opposed to
creating many individual files. This may be accomplished using the Output
Options and Save/Print Options in the PostScript/Layout Output File
Options dialog box. To create TIFF files, set Create TIFF file and Save File
Only, No Print. To create CT files, set Create Scitex CT file and Save File
Only, No Print. Then turn the Spooler on by selecting Spool in the Spooler
menu. TIFF files will have the names LAYOUT.TIF, LAYOUT.T00, T01, ... T99,
and CT files have the name LAYOUT.CT, LAYOUT.C00, C01, ... C99.
Layout Options
The Layout Options group allows you to have layouts in effect when
Spooler is on. Rather than having each file printed as it enters the queue,
you can specify that files should be added to a layout. When the layout
is full, it is either automatically printed, or saved as a layout file to let
you print the layout when you are ready. You specify what to do when
the monitored queue is empty before the layout is full. You can have
the layout automatically printed/saved, have the layout printed/saved
once some specified percent of the media is full, or wait until a defined
timeout has been reached.
Layout files
The Layout queue files checkbox in this group determines whether files are
printed individually or added to a layout for printing. If the checkbox is se-

lected, all files will be added to layouts as they are processed. If the check-
box is not selected, individual files will be printed as they are processed.
If the file to process is a layout file (CLF) containing pointers to more

than one file and layouts are not in effect, the CLF is printed as if the
layout had been built from individual files and the Print command issued.
If a CLF is processed when layouts are in effect, individual files pointed to
by the CLF are added to the current layout.
If layouts are in effect, a file in the queue is added to the current layout.
If a file does not fit in the layout, processing continues as if the queue is
empty. That is, On Empty Queue determines whether to flush the layout.
If the layout is flushed, the file oversetting the layout is added to the new
layout created after flushing is complete. If the layout is not flushed, the
file causing the overset is ignored until that layout is flushed.
Spooler always converts PostScript files to intermediate RTL files and

adds the intermediate files to the layout. By adding only raster formatted
illustrations to the layout, printing can start as soon as the media is full,
and size discrepancy errors are eliminated.
A CLF named SPOOLER.CLF in the monitored queue saves the layout

each time an illustration is added. Spooler deletes SPOOLER.CLF when
the layout is flushed. If you stop Spooler and later restart, SPOOLER.CLF
automatically builds the layout that was in effect, if any. This allows you
to interrupt Spooler and later pick up exactly where you left off.
Save layouts
The Save layouts, no print checkbox is designed to stockpile layouts for
printing at a later time. Save layouts, no print builds layouts exactly as if
printing were to occur, but when the layout is flushed, SPOOLER.CLF is
saved as SPOOLER.C00, SPOOLER.C01, ... SPOOLER.C99, called spooled
layout files, in the monitored queue. Printing is inhibited and intermedi-
ate files are not deleted. When the printer is ready, you can turn off
spooling, Open a spooled layout file and print it.

Spooled layout files are designed to be printed only once. Temporary
intermediate files pointed to in a spooled layout file are deleted after print-
ing, and other files have been moved from the monitored queue. Trying
to print a spooled layout file a second time, will cause a series of “Not
Found” messages. Spooled layout files are normal CLFs which are not
automatically deleted. It is your responsibility to delete them after printing.
An alternative to spooled layout files might be to create a single RTL file

which is the exact image of what would be printed. That is, do not select
Save layouts, no print, but rather choose print options that create an
output file and inhibit printing. If you want to transmit the output, it is
easier to work with a single file rather than many files. Also, a single file
may print faster. Spooler creates such files in the Output queue. RTL files
have the names LAYOUT.RTL, LAYOUT.R00, R01, ... R99. Note that these
names are given even if there is only one image in a layout.
This is accomplished by not selecting the Direct to Printer checkbox in

the Layout Options dialog. Output for the layout will then use settings
established in the Postscript/Layout Output File Options dialog. To create
RTL files, set Create RTL file and Save File Only, No Print.
On Empty Queue
An important issue to resolve when spooling with layouts in effect is
what action to take when the queue is empty. If a file oversets a lay-
out, it is treated exactly as if the queue is empty. For example, if there
are only two small images in the layout and no files, or a file too large
to fit in the layout, in the monitored queue, you might want to print
immediately, or wait for more files. If a file is too large, and the queue
is not printed immediately, the large file is ignored and all other files are
processed normally. The On Empty Queue pop-up menu allows you to
specify one of the following procedures:
• Flush immediately
• Flush on depth/timeout
• Flush on area/timeout
• Flush on timeout only

For example, if there is at least one file in the layout, and the queue is
empty, selecting Flush immediately will cause the layout to be flushed. A
message, “Empty queue – Flush immediate,” is reported in the message
window.
Selecting Flush on depth/timeout or area/timeout allows you to specify

either a minimum depth or area (depth x width), or a timeout that must
be reached before the layout is flushed. When the queue is empty, the
deepest image in the layout is calculated as a percent of the full depth
of the media. If that percent is equal to or greater than the percent
entered in the Min. Depth/area edit box, the layout is flushed. Reported
in the message window is “Empty queue – Flush by depth/area.” If the
minimum depth or area is not reached, Spooler calculates the number of
minutes that have elapsed since the last file was added to the layout. If
the number of minutes is equal to or greater than the value in the Time
out edit box, the layout is flushed. The message reported is “Empty
queue – Flush on time out.” If neither minimum depth/area nor timeout
is reached, Spooler does not flush the layout.
Selecting Flush on timeout only is exactly like Flush on depth/timeout and

area/timeout except that only a timeout value is checked. The number
of minutes in Time out can range from zero minutes (the same as Flush
immediately) to 480 minutes (8 hours).
Flush Button
At any time you can force a specified queue’s layout to be flushed by
selecting the queue in the Queue to monitor edit box, and then selecting
the Flush button. The next time that queue is monitored and found to
be empty, the specified layout will be flushed with the message “Empty
queue – Flush immediate.” Only the specified queue is flushed.
Time Between Checks

After a file has been processed or if no files were found in the queue,
ColorBurst waits the amount entered in the Time between checks entry
box before it checks the queue again or checks the next queue. The
default interval is five (5) seconds. This value is not saved for each queue;
it applies to all defined queues.

Maximum queues
You may set the maximum number of queues that you will need in the
Maximum queues entry box. The maximum number of possible queues
is 50. This value is read as ColorBurst is opened and memory is set aside
for the number of queues specified. If you try to define a new queue
when the maximum number of queues have been defined, the error
message “Too many Spooler queues defined” will appear. You must
restart ColorBurst before any changes to this value will take effect.
Spool
To activate the spooling process, simply select Spool under the Spooler
menu. A check mark will indicate that spooling is in effect, and the
message “Spooler started” is reported in the Message Window. When
spooling is turned off, the message “Spooler stopped” will appear in the
Message Window.

6
Windows Menu
The Windows menu contains the Window Options dialog as well as three
on/off settings for window and status placement in ColorBurst.
Figure 6.1. The ColorBurst Windows menu.
Window Options
The Window Options dialog allows you to customize the Display and
Layout windows.
Figure 6.2. The Window Options dialog.
ColorBurst RIP Windows Menu · 139

The options in the Display window group affect the Display window only.
The first setting, Rulers, can be set Off or On. The default setting is On so
that rulers are visible in the Display window.
The Rotate BMP files option is used to determine how to handle

displaying rotated files when a non–rotated preview bitmap file al-
ready exists. If Re–RIP file is selected, the rotated file is ripped when
displayed. If the file is very large, this may take a few moments. To save
time, the Rotate BMP option will simply rotate the preview bitmap file
(the original file is not ripped over again). To save processing time when
rotating a BMP, it is recommended to set the Bitmap resolution (below)
to Low or Medium quality.
The Bitmap resolution setting controls the quality and file size of the pre-
view bitmap files used to display images. The quality can be set to Low,
Medium, or High. As the quality increases from Low to High, the file
size increases as well. Medium (the default setting) is recommended to
give a decent display while keeping the file size manageable. Please note
that bitmap preview images in the Layout Window are set to 1⁄2 of the
Display resolution to keep file sizes and processing times at a minimum.
The Layout window group contains settings that affect the Layout
window. The Layout window Rulers setting is independent of the Display
window Rulers setting (above); turning this setting on will make only the
rulers in the Layout window visible. When Inhibit display of images in lay-
out is selected, images in the layout appear as boxes with the file name
instead images, even when a bitmap preview file exists. When an image
is displayed, a BMP preview is still created so that the image doesn’t have
to re-rip when it is displayed again.
The Position dialogs on the screen is used to specify where on the screen
to open dialogs. The default is centered—when a dialog is opened, it
will open in the center of the screen. If a dialog with tabs, such as ICC
Options, is open and the Layout window is open and clicked on, the ICC
dialog will go behind the Layout. The Layout window must be minimized
to get back to the ICC Options. If Upper left is selected, the ICC dialog
will be in the upper left corner. Even if the Layout window is clicked, part
140 · Windows Menu Layout Series

of the ICC Options dialog will accessible without the need of minimizing
the Layout window.
Show Status Bar

The first on/off selection in the Windows menu, Show Status Bar, is
used to control the visibility of the ColorBurst status bar at the bottom
of the main window. The status bar shows a real-time status of settings
in ColorBurst—whether Linearization, Ink Limiting, ICC Correction, Ink
Balancing, and Cut Marks are on or off, and the selected printer, number
of inks, and printer resolution. The options listed in the status bar are
placed in order of their usage in the profiling process. These options are
turned on or off in the corresponding dialog in the Options menu.
Auto Set Default Positions

Selecting Auto Set Default Positions in the Windows menu will automati-
cally place the File Info, Messages, and Layout windows in their default
locations when ColorBurst is opened. The default positions allow for
maximum use of the ColorBurst work area. A checkmark will appear in
the menu next to this item when it is selected (in effect).
Set Default Positions

The Set Default Positions selection can be activated at any time while
working in ColorBurst to automatically place the File Info, Messages,
and Layout windows in their default positions. A checkmark next to this
item in the menu indicates that the windows are already in their default
positions. If any window is moved or changed, the item is no longer
selected. The window positions and sizes can then be reset by selecting
Set Default Positions.
ColorBurst RIP Windows Menu · 141

142 · Windows Menu Layout Series
7
Help Menu
Help files are available for ColorBurst through the Help menu in the
ColorBurst toolbar. Select Contents or the specific topic of your choice
from the list in the menu.
Figure 7.1. The ColorBurst Help menu.
Help buttons are also available in every dialog. These buttons open the
Help file about the dialog that you are working in.
ColorBurst RIP Help Menu · 143

144 · Help Menu Layout Series
8
Message Window
ColorBurst features a “Message Window” that displays error and infor-

mation messages generated during ColorBurst processing. The processes
that are specific to ColorBurst, such as the PostScript RIP, creating an
RTL, TIFF or CT, and sending to a printer, will produce messages with the
following format:
------------------------ -separates jobs

C:\COLORBURST\CALIBRAT.EPS -filename, in bold
Mon 02/13/06 10:26:28AM -time/date stamp
Sending to Printer -task
Elapsed Time: 00:01:45.6 -elapsed time
Figure 8.1. The ColorBurst Messages window.
Messages will continue to accumulate in the window, which may be

sized within the ColorBurst main window. It may also be closed through
the pop-up menu on the control box, but will return to the screen upon
starting another task or restarting ColorBurst.
ColorBurst RIP Message Window · 145

Other error and information messages that may occur during the RIP
and printing processes will also display in the message window. These
messages will be displayed line-for-line in the window. This type of error
is ultimately written to the message window after first reporting via a
standard Windows error dialog, on which you must select the Yes but-
ton to continue.
Figure 8.2. Information about processing, including error messages, is displayed in the
Messages window.
The ColorBurst Messages window is scrollable. It currently has a 4K buf-

fer. As messages accumulate and the buffer is exceeded, the oldest ones
will no longer be available.
146 · Message Window Layout Series

Appendix A
Fonts Delivered with ColorBurst
The following is the complete list of fonts included as part of the

standard ColorBurst installation (the demo version does not include all
of these fonts; only the substitute resource files). All fonts will reside
in the FONT subdirectory under the directory specified during installa-
tion. Substitute Resource fonts are fonts that are actually set when the
PostScript Font Name is called.
File Name PostScript Font Name Substitute Resource

ARI.PS Arial
ARIAB.PS Arial-Bold
ARIBI.PS Arial-BoldItalic
ARII.PS Arial-Italic
ARIN.PS ArialNarrow
ARINB.PS ArialNarrow-Bold
ARINBI.PS ArialNarrow-BoldItalic
ARINI.PS ArialNarrow-Italic
AGW.PS AvantGarde-Book CenturyGothic
AGWO.PS AvantGarde- CenturyGothic-Italic
BookOblique
AGD.PS AvantGarde-Demi CenturyGothic-Bold
AGDO.PS AvantGarde- CenturyGothic-
DemiOblique BoldItalic
ZAPS.PS BookAntiqua
ZAPSB.PS BookAntiqua-Bold
ZAPSBI.PS BookAntiqua-
BoldItalic
ColorBurst RIP Appendix A · A-1

ZAPSI.PS BookAntiqua-Italic
BKD.PS Bookman-Demi BookmanOldStyle-
Bold
BKDI.PS Bookman-DemiItalic BookmanOldStyle-
BoldItalic
BKL.PS Bookman-Light BookmanOldStyle
BKLI.PS Bookman-LightItalic BookmanOldStyle-
Italic
BPSL.PS BookmanOldStyle
BPSD.PS BookmanOldStyle-
Bold
BPSDI.PS BookmanOldStyle-
BoldItalic
BPSLI.PS BookmanOldStyle-
Italic
TWEM.PS CenturyGothic
TWEB.PS CenturyGothic-Bold
TWEBI.PS CenturyGothic-
BoldItalic
TWEMI.PS CenturyGothic-Italic
CPS.PS CenturySchoolbook
CPSB.PS CenturySchoolbook-
Bold
CPSBI.PS CenturySchoolbook-
BoldItalic
CPSI.PS CenturySchoolbook-
Italic
COPS.PS Courier
COPSB.PS Courier-Bold
COPSBI.PS Courier-BoldItalic
COPSBO.PS Courier-BoldOblique Courier-BoldItalic
COPSI.PS Courier-Italic
COPSO.PS Courier-Oblique Courier-Italic
HVL.PS Helvetica Arial
A-2 · Appendix A Layout Series

HVLB.PS Helvetica-Bold Arial-Bold
HVLBO.PS Helvetica-BoldOblique Arial-BoldItalic
HVN.PS Helvetica-Narrow ArialNarrow
HVNB.PS Helvetica-Narrow-Bold ArialNarrow-Bold
HVNBO.PS Helvetica-Narrow- ArialNarrow-Bold
BoldOblique
HVNO.PS Helvetica-Narrow- ArialNarrow-Italic
Oblique
HVLO.PS Helvetica-Oblique Arial-Italic
MZC.PS MonotypeCorsiva
MZD.PS MonotypeSorts
NCB.PS NewCenturySchlbk- CenturySchoolbook-
Bold Bold
NCBI.PS NewCenturySchlbk- CenturySchoolbook-
BoldItalic BoldItalic
NCI.PS NewCenturySchlbk- CenturySchoolbook-
Italic Italic
NCR.PS NewCenturySchlbk- CenturySchoolbook
Roman
POB.PS Palatino-Bold BookAntiqua-Bold
POBI.PS Palatino-BoldItalic BookAntiqua-
BoldItalic
POI.PS Palatino-Italic BookAntiqua-Italic
POR.PS Palatino-Roman BookAntiqua
SYPS.PS Symbol
TIB.PS Times-Bold TimesNewRoman-Bold
TIBI.PS Times-BoldItalic TimesNewRoman-
BoldItalic
TII.PS Times-Italic TimesNewRoman-Italic
TIR.PS Times-Roman TimesNewRoman
TIM.PS TimesNewRoman
TIMB.PS TimesNewRoman-Bold
TIMBI.PS TimesNewRoman-
BoldItalic
ColorBurst RIP Appendix A · A-3

TIMI.PS TimesNewRoman-Italic
ZC.PS ZapfChancery- MonotypeCorsiva
MediumItalic
ZD.PS ZapfDingbats MonotypeSorts
A-4 · Appendix A Layout Series

Appendix B
Tiling Workflow
Use the following procedure to properly tile images.
Set Tiling Options
NOTE: The Tiling options MUST be set before tiling an image in the
Display window.
1. Open the Tiling Options dialog. Turn the Include all Tiles in Layout
button on or off as needed. Set Size from Layout Area to off. Set the
width, height and overlap margins before scaling and tiling the image.
If you have already scaled or tiled the image, you will need to do it
again after setting the Tiling Options.
2. The Layout width and height (in Printer Options) MUST be larger than
the Tile width & height plus overlap margins (Tiling options menu).
For example, if the panels are 48" x 96" with a 1" overlap, then the
Layout must be at least 51" x 99". The extra space is required for the
Overlap, Cut Marks and the Job Title.
As a rule, add 5" to the Layout width and height as compared to the
Tile setup width & height. If the Tile Overlap is more than 1", increase
the layout width & height by the same amount (beyond the 5" extra).
ColorBurst RIP Appendix B · B-1

If No Cropping and/or No Visual Resizing is Required:
1. Place the job that will be tiled into the Layout (Open file). In the File
Info window, click the Scale/Rot button to open the Scale, Rotate, Tile
tab of the Scaling dialog. In the Scale to Tile Size group, enter the num-
ber of Tiles and click the To Width or To Height button as needed.
2. Click the Tile button and adjust panel sizes if required.
If Cropping or Visual Resizing is Required:

1. Place the file in the layout. Display & crop the file if needed. Once the
file is cropped, click the Scale button at the bottom of the Display
window (the far right icon).
2. In the Scaling menu, enter the number of tiles in the Scale to Tile Size
box and click the To Width or To Height button as needed. Click OK to
go back to the Preview window.
3. In the Display window, click the Tile icon (3rd from left) to view the Tile
breaks. Click and Drag the Tile breaks as needed.
4. Click the Tile icon again to open the Change Tiles dialog to view or
enter the exact sizes per panel. To finish, click Save, then Save & Close
in the Display window.
NOTE: If you define the Tile Overlap to be zero and tile your image,
and then set a tiling overlap other than zero, the overlap will
move into the image, giving the image a windowpane effect.
The Overlap allows space for framing between “window-
panes.” The Overlap and Trim values should be set to one half
of the width of your desired “window frame.”
B-2 · Appendix B Layout Series

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Version 7.

© and ™ 1993-2006 Compatible Systems Engineering, Inc.

ColorBurst is a registered trademark of CSE, Inc.

All other trademarks are the property of their respective owners.

ColorBurst RIP Table of Contents · 

3 Printer Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

II · Table of Contents Layout Series

ColorBurst RIP Table of Contents · III

IV · Table of Contents Layout Series

ColorBurst RIP Table of Contents · 

VI · Table of Contents Layout Series

6 Windows Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

7 Help Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

8 Message Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Appendix A: Fonts Delivered with ColorBurst . . . . . . . . . . . . . A-1

Appendix B: Tiling Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

ColorBurst RIP Table of Contents · VII

ColorBurst® is a Windows® PostScript® Language Level 3 Compatible

CPU Pentium IV 2.0 GHz CPU or faster with built-in math

ColorBurst RIP Getting Started · 

ColorBurst Installation Procedure

ColorBurst Dongle Utilities

The ColorBurst USB dongle driver is automatically installed during

 · Getting Started Layout Series

Toolbar Name of currently selected Printer Setup file

Figure 1.1. The main ColorBurst window.

Each of the menu items on the toolbar—File, Printer Setup, Options,

ColorBurst RIP Getting Started · 

Figure 2.1. The ColorBurst File menu.

ColorBurst RIP File Menu · 

Figure 2.2. The Open dialog.

If a layout is already in effect when a file is selected, it is added to the

 · File Menu Layout Series

NOTE: If a file is modified/saved after being ripped in ColorBurst,

To delete a bitmap preview file through ColorBurst, select the image in

Restore Last Job

ColorBurst RIP File Menu · 

10 · File Menu Layout Series

You may specify a number of images to add to the layout by entering a

ColorBurst RIP File Menu · 11

12 · File Menu Layout Series

ColorBurst RIP File Menu · 13

Select a File Option

14 · File Menu Layout Series

It is not necessary to start processing immediately. If, for example, you

Figure 2.7. The Convert and Convert As menus.

ColorBurst RIP File Menu · 15

Figure 2.8. The Convert progress window.

16 · File Menu Layout Series

The progress of the printer is graphically enhanced to better show the

Figure 2.9. A progress window is shown during printing.

The position of images on the print media, the number of copies to

ColorBurst RIP File Menu · 17

When you Display a multipage PostScript file, each page is displayed

The size of the display window is proportional to the size of ColorBurst’s

18 · File Menu Layout Series

Image Zoom buttons

When an image is zoomed up and exceeds one dimension of the Display

ColorBurst RIP File Menu · 19

20 · File Menu Layout Series

ColorBurst RIP File Menu · 21

Tiles may be adjusted three ways—manually, through the Change Tiles

22 · File Menu Layout Series

ColorBurst RIP File Menu · 23

ColorBurst RIP Table of Contents ·

ColorBurst RIP Table of Contents ·

ColorBurst RIP Getting Started ·

· Getting Started Layout Series

ColorBurst RIP Getting Started ·

ColorBurst RIP File Menu ·

· File Menu Layout Series

ColorBurst RIP File Menu ·